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liskantope · 1 year

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The webcomic Questionable Content dropped its 5000th comic on Friday, and throughout the weekend and today I binge-reread all of the most recent thousand. I've never had the impression that many of my followers care about QC (not ~8 years ago when I started to blog about it, nor today), but I do have a tradition, after each thousand of its comics, of writing a post reviewing that thousand. Here is where I blogged after the 1000th comic, reblogged after the 2000th comic, and reblogged again after the 3000th comic (this was all during my early months on Tumblr when I was more into reblogging my own posts), and here is my post from 2019 from after the 4000th came out.

When I look back on the pivotal moment clearly scheduled for QC's 500th comic, when it seemed that QC had already been going on quite a while and developed into a really involved storyline that had built and built to this moment when Faye would finally reveal her traumatic backstory, it's astounding to take in the fact that QC has now reached ten times that milestone.

I'm not sure I have a ton to say that isn't essentially a (perhaps more refined) regurgitation of some of the things I've said in the previous reviews, but I do feel like the webcomic has evolved somewhat significantly in its last thousand comics (though perhaps less so than in the previous thousands), and I have a few thoughts/feelings/opinions.

[Note: all of this post is substantially edited since a few people reblogged the original version.]

I would say that this is the first thousand-strip period where my enjoyment of the comic actually went downhill. (Although I would say my feeling is more positive when skimming back over the most recent thousand comics at once; it is still overall fantastic and there's a reason I've stayed so dedicated to reading it.)

It's hard to entirely pin down why I feel this way. I think it has a lot to do with the continued introduction of new characters, at a pace which has never shown any signs of slowing despite the massive accumulated cast the comic already has. While this means that some old characters are more or less abandoned or kind of shoved to the margins (which in some cases I'm quite sorry to see), by and large the comic has stretched out to make room to be shared by an ever-growing cast. At the 4000th strip, I was still doing fine with this, but by the 5000th, I'm starting to feel a little fatigued and past my capacity for keeping track of who's who (and also who knows whom; I have to give the artist credit for keeping careful track of this in the storyline and bringing it up in the dialog when long-already-established characters meet each other for the first time). Many more of them are AIs now, and I guess it may one day be judged as something-ist on my part that I find them more difficult to recognize and distinguish in my memory. Too many of the personalities are somewhat interchangeable too, which is something I should try to expand on just below.

I continue to describe the QC universe to myself using the term "utopia", even though I know this has to be somewhat of a misuse: as I've pointed out before, the characters in that universe are very aware that the broader society they live in is unjust in many ways, and some story arcs (though thankfully not most) are focused on rather futile battles against that injustice. But within the (quite large) social bubble that makes up the immediate QC universe, I have a hard time coming up with a better descriptive word than "utopia" -- maybe this could be modified to "social micro-utopia" or something? (I'm reliably terrible at coming up with terminology.) As I've been reading Peanuts steadily starting from its debut throughout much of the same period I've been reading QC, I actually see a likeness in these "social micro-utopias" and have been meaning forever to write an effortpost delving into this, but as it happens the 5000th-comic milestone has arrived first and that other post will have to wait for another time.

The attractions of indulging in the dynamics of a fictional social bubble which is this idyllic are that it provides a sort of pleasant escapism and that it's inspiring in a way that might enable someone to enact some of the practices and values seen in QC in their own IRL social lives. QC is a feel-good comic; it never tries or pretends to be anything other than a feel-good comic; and (at the risk of sounding trite and cliche) we all need more feel-good things in our lives, and I clearly continue to enjoy it after 8 years of keeping up through 5000 installments. At the same time, some of this... constant and slightly implausible pleasantness... has just gone a bit overboard for me by this point. Maybe a lot of this has to do with the fact that what little I have of a social life feels a very, very long way from satisfying (and I see that I remarked this in my post after comic #4000, with some language reflecting some optimism related to the fact that I was preparing at the time to move back to the US, and it's a reminder of how things really haven't improved for me to any significant degree. To state the obvious: completely unexpected earth-shaking pandemics really don't help. Neither does continuing to get only temporary jobs.) But back during the first half of the 2010's when I had a happily thriving social life, there was no lack of serious drama, tension, real struggles to tolerate one another's eccentricities, and undercurrents of discord. I keep waiting for the social dynamics between the QC characters to get a little more gritty somehow, to feel a little more real. I know this is an unfair expectation, since as observed above, QC never purports to be genuinely gritty.

One thing that has become a symbol for me of the seemingly incessant cheerfulness that characterizes around half the personalities in the comic is... I don't know if there's a term for this that cartoonists use, but you know the technique of drawing closed eyes so that they're concave down, meaning that it's the lower lids that are showing? Maybe this could be called "upturned closed eyes" or something? In cartoons they signal cheerfulness and easy-goingness. And sometimes it feels like half the QC characters go around showing this on their faces all the time, to the point that it's gotten monotonous and maybe a little sappy for my tastes. (This is part of what I meant above about personalities being interchangeable.) It's a constant reminder of how all the characters are pretty much automatically and immediately in lockstep on Major Social Values / Preferences, which I find pretty unrealistic for a hodgepodge of young-ish people who all gradually met kind of randomly. I honestly feel bad that this bothers me quite as much as it does, but it does kind of bother me. There could actually be some dissonance between the characters in terms of their beliefs, values, and ideas of a good time (example: a few, leaving aside Faye who is a recovering alcoholic, could view getting really drunk in social situations as kind of immature, unhealthy, and un-classy behavior -- even some 20-something people do see it that way!).

(Of course, as always, there are occasional characters who everyone has serious problems with, but they are either complete villains who get dealt with and then written out, people who are pushed to the periphery of the social circle but are visibly Trying To Be Better (actually, Sven seems to be the only one in this category), or once-somewhat-hostile characters that the cartoonist obviously wanted to keep around so had to immediately and pointedly mellow and humanize, like Yay a.k.a. Spookybot and probably like five others.)

The comic continues to follow tropes that I call Everyone Is Hot (and half of them are openly attracted to each other), Everyone's Parents Are Remarkably Cool (by the standards of young, socially progressive culture), Everyone Is Woke (in both an ideological and a "young and with-it" sense), and Most People Are LGBT+. I find the first two slightly irritating from time to time and don't mind the last two, but find all of it somewhat unrealistic.

While there is much less dramatic development regarding Faye and Bubbles, I'm glad that Faye remains sober, and that their relationship is still going strong. The profound and powerful love between them is exhibited by the most exquisite writing that the artist has done in all of his work on QC, I would say. Other relationships are going strong, too, and I'm glad. I seem to be asking for more social drama above, but I don't actually care to see loving relationships fall apart. The deep friendship between Faye and Marten is still visible although very much sidelined compared to the comic's old days. The big new relationship is between Clinton and Elliot, and it is adorable from beginning to end (although, see the Everybody Is LGBT+ trope above; there has IMO been a rather unrealistic proportion people convinced they were straight but conveniently discovering they weren't).

And now... there has been a really long story arc about Claire getting offered a job at Cubetown and visiting there with Marten, and all the while, through the very real possibility that Claire would take the job and she and Marten would move away, I have found myself steadfastly rooting against this happening. Because while I complain about there not being enough drama and dissonant changes and it being unrealistic, etc., I don't want that much of a change. The lack of turnover among the social group is absolutely unrealistic in my experience (perhaps partly because I'm a young academic who tends to know other young academics), but I guess it's a part of the escapism that I unreservedly love. Despite my criticisms (and as I've said, it's always easier to expand on criticisms than positive things in reviews!), I've obviously come to care deeply about these characters and their wonderful (if sometimes sappily and implausibly peaceful) dynamic, and I can't imagine the comic being the same with the initial main character and his girlfriend out of the main scene. Plus, their visit to Cubetown has already introduced us to a raft of new characters and... ugh, this comic's world is just getting too big for the comic to hold up.

And (spoiler), as of just the most recent five comics out of the 5000, it looks like Claire is taking the job and this move -- the most drastic change in the QC universe -- is really going to happen. I wonder if the cartoonist draw out the interim period of Marten and Claire preparing to move, have Dora and Tai's wedding as the last major event with them all together, and then retire the comic altogether. (He is certainly not retirement age yet but may have been planning to bring it to a close one of these years.) We'll see, but I can't say I'm thrilled at this very, very recent development. It's hard to imagine what kind of (questionable) content I'll be commenting on if/when the comic reaches its 6000th installment.

[EDIT: I just saw an announcement by the cartoonist that he does not intend to wind QC down, that he initially wanted to get Marten and Claire riding off into the sunset, but now he feels investigated in following both the original setting and the new Cubetown setting. The groaning-under-its-own-weight situation is about to get much worse... *sigh*]

Anyway, here are a few stray observations to finish things off:

The very slight drama that transpired when Clinton and Elliot were trying to feel each other out and there was sort of a romantic interest triangle -ish with Brun is another example of a subcultural norm that has always been baldly present in QC (and that I'm pretty sure I've aimed at describing before), and that I've come to realize is common in poly and queer groups, where people are much more open than I'd be inclined to be about their romantic/sexual interests in each other. Not only that, but it's the way they treat it as something rather matter-of-fact, not in the sense that they don't get worked up over it (they obviously do), but in the sense that it's dealt with sort of... practically? Where everyone is able and expected to just get over their feelings once they find out the party they're interested in isn't reciprocating, because it's not rationally helpful or constructive to hang onto those feelings? I don't know, I'm probably not expressing this well, and I can't judge that norm (it seems like for the most part it would be really nice actually and make for healthy social groups and I'm all for the people who can pull it off), but it's another one of those things that doesn't reflect the way the world really works for me. And I think I bear a grudge against it because it's in line with the fantasies of the anti- Nice Guy activists of a decade ago, who would go around saying, "And he should just get over it and want to still be friends even if I'm not interested in anything else! Otherwise he was just objectifying me the whole time. I'm entitled to the guy who I just spurned to feel like still being friends with me anyway!"

Every single thing about Aurelia as her Mommymilkers avatar is hilarious, the most I've laughed out loud over the last thousand comics. Sure, she's an implausibly "cool" parent, but she's a really enjoyable character.

Bemused nitpicky comment: the cartoonist Jeph Jacques makes a point of making all his characters very much "in the know" about what is "woke"/PC these days (e.g. Renee gently admonishes Brun from using the word "crazy" to describe someone) but appears to have a blind spot with the word "janitor", which I thought had been replaced by "custodian" in socially conscientious circles quite a few years ago.

The term "goblin" comes up a lot. A lot. (Half the time relating to Marigold somehow, but also in a bunch of other contexts.) I didn't entirely notice this until the past few days when I was doing my binge-reread. I'm not sure why Jeph Jacques is so amused by the word "goblin" that he is this fond of using it to refer to characters.

#qc #utopia #social life #drinking culture #queer culture #social drama #nice guy discourse

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greysfall · 3 years

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My 4444-word review of NEO TWEWY (with personal illustration + heavy spoilers)

My overall critical score for the game is 7.5/10, while my personal enjoyment score is 8.5/10. This review is posted as I have 80% completed the game, got the secret ending and achieved the Angel psychic rank. I’ll first start with the main pros and cons as follows.

PROS:

- Enjoyable as a whole, still upholding the first game’s spirit in world building and sharing the same backbone - which was mostly revealed in the Secret Reports, it’s impossible to grasp the story without reading them.

- The new cast and new game is charming in their own way

- The old cast’s return is one of the biggest highlights for sure, it was fun and impactful. Everyone stays true to themselves and also had their own stories wrapped up nicely.

- Boss designs are cool, new pins are fun to use and collect

- The connection between the old and new cast is well written and executed, including but are not limited to the tension between the old and new protagonist, the weird but fun interaction between the 2 Composers, the new friendships revealed and formed

- Sho being in the main cast is something so uniquely TWEWY and uniquely Sho

- Still good music

- Still many fun side quests, some of them really uphold the same quirky spirit of the old game and some are surprisingly touching

- Many new nice stores and yummy looking foods to explore

- The map is really easy to memorize for me, it’s fun to travel around the “current” Shibuya to see all the differences compared to the past

- The social network is crazy and interesting to read through

- Has an anti-frustration system to help 100% complete the game more easily and earn money faster, so post-game is relatively managable.

- Overall, I really feel the efforts the team poured into making this as their passion project, not just during the development process but for all the last 14 years. They showed the vision of what they wanted to make, at the same time giving something to both the old as well as new fans.

CONS:

- The biggest problem with the game is scenario writing. The story is so heavily back-loaded. The director himself thought it would be better to balance out the tension flow by adding more at the beginning but gave in to the scenario writer in the end, probably due to time pressure. This results in an underwhelming execution of characterization and lots of wasted potentials for the first half of the game.

- I struggle to view it as a stand-alone game, since the backstory and the old cast both play such an important role in the core of the game. If someone plays this game without having played the OG, they can only enjoy it on surface value at best.

- The new cast is nice but most of them aren’t quite as intriguing as the old cast, maybe it’s cuz they’re all too nice deep down that they lack a little bit of an edge, of that batshit craziness that everyone in the OG used to have? I think some characters (Fret, Nagi) ended up weaker in terms of characterization because the writer is too afraid of making them unlikeable – which kind of backlashed cuz they only became likable in the most expectable way to cater for a specific group of fans. I would have wished for the other team leaders to be more crazy too, had they not suffered 30+ loops of the Game…

- The CAMERAWORK IS HELL.

- Gameplay does get tedious at certain points with all the time travels.

- Shiba is so badly written as a villain, some Shinjuku characters should be given more screentime cutting into Shiba’s– like Hishima or Kaie or even, Hazuki (though his limited presence also solidified his importance).

- Some of the main character designs, for example Beat’s hairstyle and his food reactions are hilariously bad. What’s the point of covering up most of his unique facial features?

- Some of the minor/side characters’ design are too cool for them to have such a small role (eg: Ayano, Eiru). Ryoji did get much screentime but is nowhere as fun as Makoto was.

- Overall the scope of this game is made a little too big for the team to handle as perfectly as the last game that was very compact, it felt somewhat rushed in development too so the missing pieces are clearly there in the final picture

The entry fee versus paying for it all in the end

An important difference between the Neo game and the original Shibuya game was that the Shibuya rule asked for an entry fee that is the Player’s most important asset, stated as a chance the Composer gives them to reexamine themselves. Meanwhile, the Shinjuku rule neither encourages nor allows personal growth and ultimately aims to erase as many Players as possible. It’s a pity we were never introduced to the full Shinjuku rulebook, as it seems like the system there focuses more on building up power and a grand government to compare with the individuality-driven system of Shibuya.

When you have to compare the new game and the original game (OG), this is an important factor to consider. Also, the OG has a serious storyline running through and through, locked with a different partner/GM creating unique atmosphere for each week and you don’t get to see your old partners again until the end. NEO’s team system does not allow such deep insight and communication between the Players. All of your teammates are always there throughout, the dynamic does change with each new addition but it is not as prominent as a partner change.

Another important factor is how the OG was built from scratch for a new platform as “something no one has ever seen before”, while Neo recycled a lot of old unused ideas from the previous development (check out this interview for more details). The development team for NEO lacks 2 key members and had a change of writer so the final product is not as strongly bound together as the last game.

The new cast is definitely inspired by today’s teenagers (from the view of creators), compared to the old cast they’re more sociable and always seem to take whatever works for them despite feeling unstable inside. They are all innocent and genuinely nice kids, avoiding to hurt each other to a degree that they end up keeping some sort of distance. They’re also unable to communicate at deeper levels, always stagnant at this half-baked stage of equilibrium without any motivation to get to the core of things. That is the cost of entering the game without an entry fee, without even dying or having a reason to be there/to fight seriously. These kids were stolen from the RG into a Game that was decidedly the worst environment for them to change or develop, just wandering around cluelessly to find a way “out” until tragedies started to unfold one by one and they ended up being charged the total sum of the price for their actions – ultimately losing everything in the end.

That is, I believe, a story arc which can resonate more to the youth of today rather than of my generation. If the message of the old game was to “listen”, enjoy life to the fullest and accept to trust others, the message of the new game is to “speak up” from the inside, trying to understand yourself and take actions instead of just going with the flow and finally, to take responsibility for such actions.

If Neku was handpicked by the Composer for being the special one with an all-dense soul to ensure victory of the game then Rindo was just a normal kid chosen out of random by Kubo to be his back-up plan, who just happened to have a high enough imagination to awaken the incredible power from his pin. Rindo was then officially chosen by the Composer as Josh picked up and handed the pin to him again, this time not as Josh’s personal Proxy – but as the Proxy to represent the normal people of Shibuya and via whom he could gamble if humans can fight for their own fate.

The underworld heroine and the hero with little of his own

Shoka is for me a refreshing and layered heroine. She’s the kind of character that took at least 3 trials of creators to form as a complete individual – that included Nomura who gave her the base design and Reaper background, Gen who gave a more cunning touch and the writers who made her English dialogues more punchy. Dishonesty equals “tsundere” is such a cliché, so the English writers tried really hard to avoid that trope in my opinion, while still letting her good intention come through.

She serves as the character who is informed of everything the players should have known, and there was almost nothing she could do about it. Almost. Until she met Rindo.

They were drawn to each other by sharing a state of “not having anything of their own”. They both started out with not being able to truly know themselves, Shoka even hated her RG life but also managed to mature from that stage before Rindo. She must have vibed with Shiki’s love and passion in the Gatto Nero threads, initiating her connection with Shibuya and understanding herself more. With Shoka as Swallow, they were able to open up to each other and offer mental support… but was still not getting to the centre of their problems because for all this time, Shoka could not tell Rindo the most important things about herself.

How did Shoka feel when she met Rindo at the UG? She probably didn’t want to hope that he would live the day until she witnessed the Twisters’ potentials. From the very beginning, they were both incredibly conscious of each other and also constantly frustrated that the person they happened to “notice” was such a condescending bitch/a clueless loser. The Shinjuku Reapers are overall quite drunk in power and uncompassionate to Players, Shoka included. She is also a master of dissociation, which results in her constant boredom, tone swings, haughtiness and subconsciously distancing herself from the friend – the boy she cares about – from false hope, as she judged from facts that it was a hopeless situation where nothing could ever be. Maybe she is naturally a bit of a chameleon just like her name suggests (Shoka 紫陽花 = hydrangea, the color-changing flower), so putting on an act and always dissociating herself from what’s important was easy, while hiding her contradiction was impossible. It was the ex-Reaper Beat who broke it out to her, that she should decide whether she really cared and wanted to do something for a change. He knew how it felt like to cross that line, and knew she wanted to too.

Shoka is endeared by many of the Shinjuku Reapers and has shown independent acts of kindness (the Shinjuku ghost), proving that her kind and truthful side is as real as her harsh and dishonest side – which makes her a nice mirror to the previous heroine Shiki, who also embraced a dichotomy of self-complex and self-love within her character. In the end, she was the first of the new cast to ultimately accept all that is important to her and independently made the decision to help save Shibuya despite all costs.

She was jealous at Rindo’s interaction with Tsugumi and Kanon but remained silent cuz she wasn’t at a place to have any say about it. She also didn’t reveal about Swallow because that would only add an awkward irrelevance to their current situation, as she was too ready to face erasure at the end of the Game. She only wished to “play a game” with him, be it FanGo or the Reapers’ Game. The tension that the team could only feel at the end, she’s felt it the entire time. The song “DIVIDE” is applicable to not just one bond in the game, but it always makes me think of theirs. There is always a “divide” between her and Rindo throughout the course of their journey, as the living and the dead, as a Player and Reaper, as someone who has a place to return to and someone who doesn’t, someone who knows little but wields too much power and someone who knows a lot despite not being able to do much.

“If only I had the chance to connect with you on the other side

But time goes on, and without us realizing it

The battle is getting heated

Time goes on, and without us realiazing it

Divided again”

To be honest, maybe I didn’t grow any affection for the new main cast from Rindo’s perspective but from Shoka’s. Since I started to sympathize with Shoka, I started to see the boy in a more “real” way. The real Rindo, behind his peaceful façade with others, would lash out on Shoka for her unfairly harsh attitude while none of the others cared. He could also subtly feel that mantle of unspoken secrets from her, her own contradictions, the unresolved chemistry between themselves – and not knowing what to do with it rather than to feel angry with all the unfairness he could not process. (As a Libra too, he’s triggered the most by unfairness!)

It is actually a positive development as he’s at least “reacting” to something strongly now rather than to keep evading his problems. During my replay, I clearly saw the difficult situation Shoka was in, her remaining harshness after the Motoi incident was due to her internal struggle with a mission to save her own life, versus a chance to really be with the team. Her decision was to do both at the risk of losing favour from both sides. Rindo started to accept her layer by layer, as the person who resonated the most to her contradicting nature from the start and knew that via learning her resolve, he has learnt his too.

Later into the game, she even got too much of his attention. Maybe even without knowing she’s Swallow, he’s familiar with her thinking direction and Swallow had always been closer to him than any other friend. It was only after she had to betray her important ones twice that she could start being truly honest. The scene when she died a 2nd time left a strong impression in me, the little reveal let Rindo know that he is also losing Swallow as he’s losing Shoka – and that only death could drive the last secret out of her. Her final “Later, loser” echoed through Rindo as it was the final truth, with only him remaining to hear it: they had actually, already lost everything.

Rindo was the boy who never dared to face all that matters to him until he lost it all, fighting an unfair battle in the faith that they would somehow still win. Shoka was the girl who always knew what was dear to her, but never dared to think she could be together with them ever after and still threw her all into a battle she knew was losing. I think they stir each other on naturally to fill out their gaps, similar to what the Shibuya game partner systerm would have aimed for. The end reward was a little divine intervention to help close up the divide between them once and for all.

During the game there was not enough space to process anything personal so at the ending when they officially became “friends”, it was an important affirmation of their bond. Some people complained it was friendzoning but it’s not, they just have arrived at the perfect place to start something more. “From now on, we will truly be together” – I read it as that kind of message.

The heroine from a lost battle, with her story taken away

After reading the secret reports and playing the game to be surprised of how small a role Tsugumi had in the main game despite being the “Hype-chan” thought to be a major character of the next TWEWY installment, many fans would feel sad at a missed opportunity to see the Shinjuku arc in full depiction.

It was shown clearly that, a Shinjuku arc was very carefully planned out and is a vital part of the whole story, yet it could not be made due to various circumstances behind the development scene. I would assume, that the team were not able to make a TWEWY game that ended on a despairing note, but it already happened in their mind, thus becoming a mental burden that forced them to break away from it and started the game anew with NEO. A significant part of NEO became the healing arc for the Shinjuku characters, especially for Tsugumi though I really wished more emphasis should have been placed on her rather than Shiba. We didn’t even get to see her brother – Shinjuku’s Conductor who had a vital role and instead was given the clueless Shiba, who had absolutely no idea what’s going on all the way until the last day in NEO. It’s as if Tsugumi has had her story stolen away from her, because her own battle ended with a saddening loss.

I think every time the game creators look at Tsugumi, they would feel that sadness too. Maybe to them, she is a bigger character than what is seen by the fans, as despite their failed effort to depict her story, she’s lived in their mind for all these years through periods of destruction, healing and rebuild. Though it is a pity we could not get to experience the full scope of the Shinjuku story, the creators was clear about the place they wished for it to arrive at.

Individuality, connection and the social network

The team system adapted from Shinjuku rulebook does not allow much room for personal development, as the team dynamic is closer to a work relationship forced to bear results, than a spiritual bond to max out all corners of understanding as found in the partnership system. The old Shibuya system allowed only 1 winner and 1 week limit per game, while the new rule declares for a 1 winning team and only the team at last place will be erased – the other teams will enter another loop. Furthermore, whichever team to challenge the unwinnable Ruinbringers will face the risk of ending up dead last followed by erasure. As a result, the longest-standing teams are most likely not the strongest ever recorded, but the ones who have figured out a strategy to simply survive until something changes, enjoying their newly found social constructs while they are at it. Basically, it is a system to hypnotise players into the illusion that they are still “living”.

Therefore, we as players would not get to the core of each Player individually as fast and directly as we did in the last game. The Twisters were able to stand out not because they’re powerful, they only started to have a real chance after growing enough to each form a meaningful and personal connection to another teammate. It did not come as a team, nor did it intiate from the existing friendship between Rindo and Fret. In fact, I did not find much solidity or anything truly note-worthy about the main team and new characters within themselves until they started clashing with other team members, Reapers and new recruits from week 2 onwards. Rindo found his personal development with Shoka (via a clash with Motoi and pretty much a mini dating sim between them), then via the confrontation of his role with Neku; Fret found his with Kanon then Nagi, the team learned about the real Neku via Beat, Neku entered the UG via Coco’s wish to save Tsugumi… it was not the team but their personal links that empowered them to fight and solve each of their problems.

The other team leaders may have failed because they did not form such personal links, after 30+ hopeless loops Fuya’s team all fell apart to pursue their own interest even at the cost of erasure, Motoi quit his KOL façade to work like a dog for the Reapers (probably to save just his own ass not his team), while Kanon dropped her tricks to find changes via honest cooperation in acceptance of a fair loss. The despairing note in that is huge without making much of a scene because their failure didn’t happen at their best effort to “win”, but in their last attempt to find a way “out”. Even Shiba got his way “out” in the end thanked to his personal friendship with Hishima and Tsugumi.

Something has shifted in the mindset of the game creators in the last 14 years, as both games are about “connection vs individuality” but the last game focuses more on connection between just individuals and this one on the overall network that is formed out of those individual connections.

The introduction of Beat into the main cast was truly the bridge between old and new, they helped each other out in several turns before officially recruiting him. Beat is a character whom a lot of fans including myself have felt somewhat concerned about after Neku disappeared from the RG, so when the new kids welcomed Beat with warm and organic interaction and Beat seemed happy, I started to feel like I wanted to help them out too! I think the overall team chemistry is enjoyable enough for new players, but I could warm up to the new kids more from the pov of a returning character – whom I’m glad to be Beat, as the older brother figure who is genuinely kind, fun, serious and upbeat at the same time; who is needed and needs the kids in return.

The social network is a fun and refreshing feature. You can read all of the crazy tidbits about Shibuya and the links each character have formed with the town people, it’s also fun to visualize how the characters act off screen. Characters’ profiles provide extra insight into their background too, like how it reveals Tsugumi has been friend with Coco during her time in the RG. During the game when not all characters have showed up, you can sometimes guess which empty spot will belong to whom. For example there is a 1 character linking to Neky that is not linked to anyone else, so I could guess that was Joshua, and that another character linking only to Joshua was probably Hazuki, hinting that the 2 Composers are related before either of them even showed up.

Hazuki only showed up for 5 minutes, but his presence is so vital and true to the game that I think he is the most memorable out of the new cast. The two Composers have such an intriguing bond, with their yin/yang or phoenix/dragon themes, opposite color design, the sempai/kouhai tone and the way they keep some sort of distance/work relationship as if it’s mandatory between Higher beings, yet at the same time they can talk so casually because they are truly equal – and different from one another. I have written a separate meta on them here.

Some people pointed out, that all Shinjuku characters’ names and themes are based off Hanafuda cards and the Phoenix in Hanafuda belongs to the Paulownia suit – which is Joshua’s name flower. This is so interesting because it feels like the creators somehow saw it as a sign to interweave the Shibuya and Shinjuku storylines together. Though it doesn’t come out much on the surface, it’s fascinating nonetheless considering both Josh and Haz had at some point interfered with the other town’s affairs.

“Shibuya tour with Haz” was such a special scene, as it happened between 2 characters who do not/no longer have a reason to care about Shibuya, on the subject of what is worth saving about Shibuya. Hazuki carried out the purification of Shinjuku and stepped in to restore Shibuya just as part of his job and unlike Hanekoma or Joshua who both possess profound understanding of humanity, he really didn’t know humans at all. Rindo’s irrational wish invoked in him a sense of curiosity, to try gambling on something irrationally and learning a bit of what his senior have experienced. With all the pieces put together, it provides an overview on Higher beings as a whole, and that Joshua and Hanekoma are really the odd ones out with Hazuki being somewhere in between them and the rest.

The old friends

It’s easy to have returning characters overshadow the new cast as they have already matured out of their personal story arc and stayed in our hearts for all this time. In the end, I have managed to enjoy both the old and new cast separately and altogether, and they will both find their own place in our memory of this game for the long term.

Sho is truly as crazy as ever, the game wouldn’t be the same if Sho is any less of what he is. Sometimes it doesn’t feel like Neky or Beat is younger than Nagi at all, with moments when it seems like Neky has aged 14 years instead of 3 years. His friendship with Coco surprised me pleasantly, and their interaction together with Beat was fun to watch. Rhyme’s found a new dream and her friendship with Kaie is precious too, especially considering that she can still talk to him online after the game ended. Josh and Neku’s interaction suggested that they have resolved the past and are on equal terms now, they even parted ways in good spirit and I don’t feel any worry about them like I did before.

Neku and Shiki’s reunion scene was beautiful, theirs is such a special bond that it has grown and supported them even without being able to see each other. I am so happy to see them all again and that they stay true to who they are, albeit looking more grown up, cooler and happier than ever before.

Overall, NEO can’t become a classic on par with the OG, but is definitely a good sequel and a good game in its own rights. I’m happy with whether or not there will be a 3rd game to complete the 3 monkeys theme, but if there will be – I hope the creators can really find the time to learn from the last 2 games and start over with a fresh mindset and strong core.

#neotwewy #neotwewyspoilers #ntwewy #ntwewy spoilers #neo the world ends with you #twewy #review #meta #neo twewy #shoka sakurane #rindo kanade #tsugumi matsunae

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shihalyfie · 3 years

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Regarding Konaka’s influence on Tamers (or how much he actually didn’t have)

(Rest assured that if you’ve had a conversation with me recently about this issue, I’m not vaguing you; this conversation has come up a lot in the last few weeks, especially in my private chats, so this is just me deciding that I should write something about this for once since it’s been weighing on my head lately.)

I think, right now, with what happened regarding the DigiFes debacle, a lot of people are having complicated feelings about how to feel about Tamers, and this is completely understandable. I think there are also some things that may be inevitably unavoidable, such as starting to second-guess certain nuances in the series and what they might lead to. All of that is perfectly reasonable, and in the end, it’s going to be up to everyone to decide how they feel.

In light of this, a lot of people have been bringing up the fact that, while Konaka was the head writer, he was by no means the only person working on it. This is very much true, but I’d like to add something else to the equation: this is an issue that goes much deeper than the usual claiming death of the author for the sake of sanity. The full picture is that Konaka has always had much less influence on the series than the fanbase tends to attribute to him. Official statements have been very clear as to not attribute the entire series to him, and, among all the other controversial statements he’s made, Konaka himself has at least been very active about crediting the other staff members as far as their influence on the series! The idea that he was the only person who ever did anything substantial for Tamers is something I’ve been warning against since long before any of this happened (if you want proof, I have a post from April with this sentiment in it), and right now we just happen to be seeing what’s basically the worst possible outcome of the fanbase constantly worshipping him like the only real creative heart behind the series to borderline cult-like levels...when that’s never been true, and has resulted in unfairly taking credit away from people who deserved it.

I’ll go into detail below, and I hope this can help people understand the situation better and sort out how they feel about it.

Note that I make references to his infamous blog in this post, which I’m deliberately refraining from directly linking for obvious reasons, but all of the information is still there, so it should be verifiable if you decide to look for it yourself.

Personally, I’ve always found it really bizarre how there’s been this obsession with portraying Konaka as some kind of auteur whom the entirety of Tamers depended on. I’m not saying this out of spite towards him, because, again, even he himself was very insistent on disclaiming credit for things he wasn’t actually responsible for (he was quite humble in this respect, actually). Not to mention that I think it’s a mistake in general to constantly pin a single person in a multi-person production as the sole heart behind it, and the Digimon fanbase has historically had this strange double standard behind it when it comes to uplifting him as the only heart behind Tamers when nobody says that about any of the head writers for...anything else. (How many times has Nishizono’s name ever popped up when talking about Adventure? People are usually more obsessed with talking about Kakudou or Seki.) Konaka’s work is certainly distinctive, but Tamers had a lot more going on besides just that.

In fact, based on his own statements on the matter and all of the other official information we’ve gotten about Tamers production, while you can’t really quantify such things, it’s generally been estimated that Konaka was responsible for something like only a fourth of the series. Which is an incredibly low amount compared to what the fanbase would have told you before all of this happened, because of this fixation that he must be the genius mastermind behind the whole series. Not only that, this “brilliant auteur” image of him was so inflated that people were attributing way more of 02 to him than he deserved; 02 episode 13 was the only thing he contributed to the series and he was specifically brought on as a “guest writer”, and the overall plot of the episode was determined by the rest of the production staff and not him -- but ask the fanbase and they’ll tell you stories about how he invented some grand planned arc for 02 that got cancelled, or even that Tamers exists because of a “writer revolt” from him and other writers not being allowed to do what they wanted. (You know, as much as I understand 02′s a controversial series, it would be really nice if people didn’t make up completely baseless stories like this just to scapegoat it...)

I honestly cannot emphasize enough how much of the problem we’re in right now has been horribly enabled by the weird pedestal the fanbase has been putting him on. This is to the point where there’s even been a double standard where some of the more unpopular/criticized elements of Tamers must not have been the fault of a brilliant writer like him, and in fact was forced on him by the executives (this excuse had always been brought up anytime someone doesn’t like something about Tamers, just to make sure the image of him as a perfect writer was maintained). Turns out, as per his own admission on the infamous blog, while he wasn’t the one who initially had the idea of putting Ryou in, the part that rubbed the fanbase the wrong way -- that he came in as an accomplished senior who was better than everyone and played up by everyone in the cast -- was unabashedly his idea (he apparently was enamored with the idea of having someone like Tuttle from the movie Brazil). Again, this is a weird scenario where even Konaka himself has been more humble about this issue than the fanbase’s perception of him; he fully admitted whenever he had trouble writing certain parts. For instance, he doesn’t actually like writing about alternate worlds, felt they were out of his comfort zone, and only wrote in the Digital World because the franchise needs one; he’d stated that if he’d had his way, the Digital World arc wouldn’t have come in as early as it did, which might be a pretty shocking statement for a Digimon fan to hear.

If you want even more specifics, here are some extremely major parts of the series that Konaka was not actually the one behind:

The character backgrounds. Konaka stated on his blog that he wasn’t interested in going too much into character backstories because he felt it was too plot-limiting to say that a character is the way they are thanks to something in their past or background (basically, he cares more about plot than character for the most part), and that he’s also not into worldbuilding. Certain things like Ruki going to a girls’ school were supplied by Seki, who infamously loves worldbuilding, family backgrounds, and character settings.

Certain nuances of Ruki’s character, especially the part where she’s pigeonholed into uncomfortable places due to being a girl, were informed by Yoshimura Genki, writer from Adventure and one of the head writers of 02 (who eventually would go on to create an entire career out of feminist cinema).

According to the posts on his blog, Impmon’s character arc didn’t have much input from Konaka himself and was largely written in by Maekawa Atsushi (also a writer from Adventure and one of the head writers of 02).

The whole concept of Yamaki being redeemable in the first place was something Konaka didn’t originally plan for; he’d initially intended to make him a straightforward antagonist, but, of all things, his Christmas song, combined with the input of the other writers (especially Maekawa) humanizing him, led to the development where Yamaki eventually changed sides and became sympathetic. (This makes Konaka’s recent stunt revolving around Yamaki a bit painfully ironic.)

The director, Kaizawa Yukio, was deliberately picked because he didn’t have experience on the prior series, for the sake of changing things up, and he spent Tamers as a period of studying what Digimon should be like. Based on what he’s hinted, it seems Konaka's writing style and choices were able to have as much influence as they did because Kaizawa approved of them -- that is to say, Konaka’s detailed imagery and descriptions were extensive enough that Kaizawa could go “sure, let’s go with that.” But in the end, nothing Konaka did would have gone through unless Kaizawa and Seki (among many others) didn’t also approve of it or provide input. Moreover, Kakudou Hiroyuki (director of Adventure and 02) has also been stated many times to have been a valuable consultant on invoking Digimon so that the new staff could understand what to aim for and how to get the right feel (and also assisted with providing stuff for the mythos, such as the Devas). Nevertheless, Kaizawa also seems to have had his own strong opinions and input on the story; he especially seems to get passionate when it comes to the topic of making the story something the kids watching it could relate to and imagine. (He would eventually go on to direct Frontier and Hunters, along with several episodes of the Adventure: reboot.)

So in other words, looking at this, a lot of these things that people emotionally connected to and loved about Tamers are things that literally were not his personal creation, and were largely contributed by the other writers! Of course, Konaka’s “creator thumbprint” is very obvious -- he was the head writer, after all -- and all of this had to go through his own vetting to make sure he personally liked it as well -- but nevertheless, you can see that this very much was a collaborative effort from head to toe, with him being very open about this fact himself. Insisting on making sure that this fact is well-known isn’t just a coping mechanism to try and remove his presence in the series, but rather a desire to get people to seriously stop giving him credit that really should be going to others (especially since, again, even he himself was very diligent about assigning that credit).

In the end, I’ll leave you with another thing to keep in mind: Konaka doesn’t get paid anymore for Tamers work (unless they make something new like the DigiFes thing), so continuing to buy Tamers merch and supporting the series through fanart and such will probably end up going more towards the Digimon IP as a whole. Basically, if we’re just talking about Tamers specifically, what degree this is going to matter is only really relevant to the content in the original series, which is now twenty years old and remains unchanged. By Konaka’s own admission, he wasn’t into all of these conspiracy theories until 2010 at the earliest, so while it’s understandable to be a bit wary about the themes in Tamers having traces of the base sentiment, the original series itself does not seem to be an outlet for alt-right propaganda, and it’s probably forcing it a bit much to read into it that way. Konaka’s also repeatedly insisted that all of his attempts at a Tamers sequel have been rejected and that he’s been doing increasingly strange swerves to get around members of the original cast not entirely being available, and the Japanese audience has turned out to not be very fond of the contents of the 2018 drama CD and the stage reading for reasons entirely separate from the politics, so it’s also unlikely we’ll be getting a Tamers sequel from him or something in the near future.

So -- at least for the time being -- what’s done with him is done, and the remaining question is how all of us feel about Tamers. I think everyone will have differing feelings on it, and that’s perfectly understandable. Personally, given everything I just said above, I’m going to continue treating it as a series very important to me, and one that many people (including, as it seems, a very different Konaka from twenty years ago) worked on with a lot of effort and love, although you may see me getting a bit more willing to be critical about the series and its themes thanks to my concerns about some of the sentiments in it and what they imply. I also completely understand that there are probably people whose associations are going to be much more hurt and who will have a much harder time seeing the series the same way ever again, and I think that’s reasonable as well. But at the very least, going forward, I hope all of us can understand the depth of this situation, give credit where it’s due, and not force credit where it’s not due.

#digimon #digimon tamers

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silenceinternalmonologue · 3 years

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A Review of Loki (2021)

[The following is an exact transcription of Twitter user @/diolesbian ‘s thread linked here . They gave me permission to cross-post their thread on my Tumblr. Keep in mind that this review is fairly long and quite critical of the series. I agree with this review wholeheartedly, and would be welcome to discuss it with anyone else.]

Loki is a character who has died many times, but his own series may be his most brutal character assassination yet.

1. Loki’s role in the series. Instead of tackling Loki's most villainous state of mind in Avengers 1, the series literally speedran through his development in the subsequent films, after which they almost entirely halted his character progression.

Because this series was set right after Avengers 1 it had the responsibility of developing Loki further in place of The Dark World and Ragnarok. In Episode 1, this development was kicked off by having Loki watch a reel of some of his defining moments in the MCU, allowing him to see his future all the way up to his death in Infinity War. Sadly, this scene ended up being the most development he received in the entire series. And arguably, this isn’t even true development but more like a speedrun of his character up until that point, serving as a simple tactic to explain why he wouldn’t be acting all dictatorial and murderous during his own series. As soon as he had been made “good” (read: docile) enough to follow along with the plot, his agency was completely thrown out. From that point on, the series wasn’t about Loki making things happen but about things happening to Loki.

Loki was supposed to be the main character, but he wasn't the protagonist in this story. In fact, he was more of a side character than we’ve ever seen him be in the MCU before, perhaps excepting IW and Endgame.

A protagonist is by definition someone whose important decisions affect the plot, whose development is followed most closely by the audience, and who is opposed by an antagonist. Loki exhibited none of these traits in this series. Especially the latter half of the story, he was reduced to simply reacting to the revelations around him, such as the reveal that the TVA members were all variants and that Kang was the true mastermind behind everything. He never truly involved himself or acted based on any of these plot points, and hardly played a key role in what was supposed to be his own story. Even in the films, where Loki is a side character, he makes choices which impact the plot to a larger extent. He almost seems more like a background character in the role of protagonist than in the parts he plays in the films.

2. The antagonist. The TVA could have worked as the perfect setting for Loki to have a new arc. It’s a thematic antithesis to who we know Loki to be. But when this Loki turns out to not be who the audience thought he was the TVA’s thematic significance falls apart as well.

In Episode 1, the TVA’s Agent Mobius enlists the help of Loki the Variant to pin down a greater foe who we are told is another, more malicious version of Loki. Order and chaos meeting in the middle, teaming up to take down an enemy, who even happens to be the protagonists’ literal evil self: that works, it sounds promising. But this dynamic is soon undermined when Loki leaves with Sylvie. Still, the benefit of the doubt is easy to grant here: a story about tricksters is bound to contain twists. But by Episode 3 the series is halfway done and the TVA has been appointed as the main antagonist again: we’ve now established villains three different times. And then the Cloud Monster At The End Of Time is introduced, and finally Kang. In other words, the Loki series has no consistent antagonist, no one to pit its main character against. And this is where we once again miss out on an enormous aspect of Loki’s potential characterization.

Protagonists are always defined by an antagonist, whether a purple Titan, a flat tire, or themself. Loki is not given anything to define his morals, motivations, or development in opposition to and this is a huge oversight. Especially given the fact that Loki has taken on the villain’s role in the past: how is the audience supposed to know that the “bad guy” is now a “good guy” if there’s no “even worse guy” to stand up against?

3. The plot. A plot should show off its MC’s strengths and match their personality. The Loki plot hardly relied on his presence at all, he didn't play a key role. The story had so little to do with Loki that it seemed as though he has barely any impact on “his” narrative.

One of the most central conflicts in the Loki series doesn’t involve him at all: it’s between Sylvie and the TVA. This plotline was a good concept overall, but its main problem is that it’s practically the only conflict in the series. Loki himself, as mentioned before, isn’t set in opposition to anything or anyone. And thanks to his relationships with Sylvie and Mobius being weakened by conflicting storytelling devices, he appears to be in a bubble by himself away from the rest of the cast for much of the story. First he follows Mobius around, then Sylvie, then he wanders aimlessly in the void before following Sylvie once again and learning that Kang is a Really Bad Guy who he should be opposed to even though by this point he has interacted so little with the story unfolding around him that the audience doesn’t even understand why he should be choosing to play the hero.

The plot and the characters both suffer by being so incredibly unrelated to each other. A series, especially an MCU one, should tell an overarching narrative through the perspective of its main character.

In the beginning of the series, when Loki was still getting his bearings in the TVA, this lack of decision-making was more understandable, especially since some of his skills were still being shown-- he discovered Sylvie was hiding in nexus events, and he made the choice to leave Mobius and follow her. But by the latter half of the series he still hasn’t had much impact on the story or taken any actions of his own, and simply allows plot points to happen to him. Just because the Loki series had to introduce the TVA and Kang didn’t mean it had to forgo telling a story about its protagonist. If Loki’s story had been intrinsically tied to the overarching plot points, if his choices had been some of the primary factors determining how events ended up taking place, the series would have succeeded in every aspect. But instead Loki is pushed aside by the plot of his own series, a plot which subsequently ends up coming across as largely hollow and pointless due to its lack of character drive.

4. Loki’s arc. One of the main reasons MCU Loki is loved is for his excellent character development across his films. TVA Loki was extremely lacking in that aspect and chances to take his character in interesting new self-aware directions were thrown away without much thought.

Throughout the MCU, Loki is on a journey with many highs and lows. He goes from a bitter and disheartened prince standing in the shadow of his brother, to a self-loathing Jotun bent on destroying his own people in a desperate attempt to win his father’s love, to a half-mad partially mind-controlled dictator with delusions of grandeur fueled by his own insecurity, to a prisoner wondering what there is left for him to lose, to a savior of Asgard’s people finally coming to accept his place in what is left of his family, to a tragic sacrificial victim who knew he had to die so the true hero might live on. That’s a hell of a journey, incidentally shown in less than TWO HOURS of screen time, and the prospect of TVA Loki embarking on an equally stimulating one, this time told over the course of over four hours and shown from his own perspective the entire way through, was exciting. But as it turned out, this relatively simple expectation went completely unmet.

For a story trying to say so much about individuality and self-acceptance, the Loki series seemed to pass by every obvious opportunity to tackle those questions.

Sylvie’s introduction seemed like a good idea at first: Loki would be able to literally bond with himself and learn to accept who he is that way, and forays could be made to explore what Loki’s personality could have been like if he grew up under different circumstances! But aside from a scene or two in Episode 3, this was not how things ended up going. Loki didn’t come to any grand or important conclusions about his identity, he didn’t choose to act differently, all that happened was a vaguely-worded confession of pseudo-romantic feelings which was cut off in the middle, made no sense, and weakened the narrative in a whole host of other ways explained elsewhere. Loki’s encounter with other versions of themself in the Void was similarly meaningless: Loki didn’t end up expressing or demonstrating a single thing he learned from meeting all of those alternate selves, despite the fact that there was potential for massive self-discovery there.

Less than 2 hours of MCU screen time portrayed Loki more coherently than this entire series. Loki is loved because of how much he changes, and it felt like he didn’t in this series. He started off lost and stayed that way throughout the entire plot.

By the end of the series, it was impossible to identify who Loki had become. He said he didn’t want a throne, but it was not obvious why not. He looked sad to be betrayed by Sylvie, but never expressed what that meant to him. He seemed afraid once Kang was unleashed, but why? Why did he care about the Sacred Timeline? What were his motivations? Throughout the series the answers to these questions became less and less obvious, culminating in the final episode which ended without a single moment of reflection or explanation as to who Loki had become. He wasn’t a villain, but only because he wasn’t murdering people. He was in some capacity a hero, for… being against Kang, probably, but once again with no explanation as to why Loki had decided to feel that way. He never seemed self-assured in his heroism, as if he hadn’t chosen the role for himself. Again, making one’s own choices that shape the narrative are what differentiates a protagonist from a side character, but Loki did not do that in this series.

5. Loki and Sylvie’s relationship. Loki and Sylvie had the potential to be a powerful duo representing the process of self-acceptance but instead they were reduced to a strange pseudo-romance.

Despite Loki’s many developments in the films, he never truly liked himself. He has been known to act extremely confident and self-righteous at times, but this is merely the opposite side of the coin containing his self-loathing and insecurity. Having him literally meet and subsequently befriend himself in Episode 3 was a move towards developing this aspect of him and potentially teaching him to finally accept himself as he truly is, but this buildup was all shattered in Episode 4 when the relationship is portrayed to have romantic undertones. Instead of a powerful struggle to accept oneself, the relationship between Loki and Sylvie becomes a twisted thing which is memeable at best (selfcest LOL amirite?) and outright damaging to both characters and the very concept of loving oneself at worst.

Ultimately, Loki and Sylvie's relationship didn’t add anything to either character’s development and actively detracted from what could have been a touching story.

Romantic love is extremely different from self love; romantic love has connotations including dating conventions and sexuality which are impossible to ignore and in this case serve as a distraction. And on top of ruining a potentially powerful storyline, this strange relationship makes both Loki and Sylvie seem out of character. Loki is once again one thousand years old and he has never even had a true friend, so why would he possibly fall for someone after knowing them for only two days? Meanwhile in Sylvie’s case, Loki’s “feelings” for her cause the audience to pay more attention to her romantic life and gestures rather than her actual character and motivations.

6. Loki’s Sexuality and Gender Fluidity. Loki’s sexuality and gender has been shown in several comic runs, and the series was advertised as featuring this representation as well. But due to several fundamental errors and problematic storytelling this also fell flat.

Sylvie’s introduction filled many fans with hope regarding the portrayal of Loki’s identity. In the MCU neither of their LGBT identities had ever been touched upon, while the series introduced a female variant of Loki and explicitly stated their sexuality. But this portrayal soon unraveled, most notably in Episode 5, in which many other Loki variants were shown but not a single one besides Sylvie was non-male. On top of that, when TVA Loki mentioned Sylvie and referred to her as “a woman Variant of us”, the other Lokis agreed that that sounded “terrifying”. Why should a genderfluid being be afraid of a version of themselves presenting as a different gender? It read as both fluidphobic not to mention strangely sexist.

The pseudo-romance between Loki and Sylvie only aggravated the situation. Not only did the nature of the “relationship” seem to follow heteronormative storytelling tropes (falling in love after a couple days of knowing each other, one party being reduced to a love interest, valuing romantic love above any other type, etc) but it also seemed distressing and offensive to many genderfluid people. A romance between a male and a female Loki, one of which doesn’t even call herself by that name, seems to be implying that an individual becomes someone else when merely presenting as a different gender, which of course isn’t at all the case. The writing wasn’t necessarily malicious here, but it was certainly ignorant and potentially even harmful. The opportunity was there to translate Loki’s powerful comic representation into the framework of the MCU, but this attempt did not succeed.

7. Loki’s characterization. Loki is a chameleon, but there are certain traits fundamental to his character. These traits were either ignored or actively mocked in the series. The audience already knew “what makes a Loki a Loki", but the series threw that knowledge away.

Episode 1’s premise of stripping Loki of everything he is used to was an intriguing setup to ensure the discovery of the core of who Loki truly is. The only problem was that this truth didn’t end up being found at all. Mobius made fun of Loki’s most defining traits, such as his habits of lying to manipulate people and acting out of a place of insecurity, which seemed to be a signal for the narrative to forbid Loki from exhibiting any of those traits from that point on in any way. This reduction in Loki’s character was reflected in everything, from his lack of humor (in the films he’s even funny while he’s taking over the world!), the underpowered way in which he fought against Sylvie (he’ll use magic to dry his clothes, but fight with a damn vacuum cleaner?) to the way that he wore the same boring outfit in every single episode-- it may sound shallow, but clothes are important when presenting a character. Every one of Loki’s looks in the films said something about him and his state of mind, and sadly that bland TVA outfit seemed to convey that Loki really was nothing more than a subservient pawn in what was supposed to be his own story. Ironically, the writing stripped Loki of everything that made him Loki, and left us with nothing but a Jotun-shaped void to be swayed by the whims and wills of the characters and plot devices surrounding him.

8. Loki’s past and abilities. This series could have elaborated on aspects of his character which had been teased at in the films and theorized about by fans, but ended up being a disappointment in this aspect as well.

Aside from Loki’s characterization and development, something else the series ignores is much of his canon story in the films. Since Thor 1, a truth that always overshadowed Loki was his Jotun heritage. He struggled with it up until the time of his death, clearly visible in his relationship with his foster family. It’s understandable that Loki was supposed to be independent from Thor in his series, but that’s no excuse for completely ignoring this central part of who Loki is. It doesn’t matter how much he goes through or how much his circumstances change, this feeling of unbelonging sits deep in Loki’s core and should have been both explored and explicitly discussed in the series. A series all about Loki was the perfect opportunity for him to finally confront and explain his relationship with his heritage, and potentially come to terms with it as well. And this isn’t even to say how cool some more insight on Loki’s Jotun inheritance could have been-- hypotheticals aren’t the point of this review, but it would have been fascinating to see Loki reacting adversely to heat like he has been hinted to in the past or even using his ice powers like he did in Thor 1.

Loki's magic was tragically underused. It felt like he was stripped of all of his magical powers even after his TVA chains had been removed, and this was never explained.

A second huge oversight is his magic. His powers are all over the place in this series. They were always a bit vague in the films, but this series was the opportunity to set that right and explain exactly what Loki was capable of as a sorcerer, especially now that the MCU has embraced magic more than it had ten years ago. But instead, Loki showcased an inexplicable lack of magic use-- again, the vacuum cleaner fight can be presented as evidence. There is a single scene in which Loki says that he learned his magic from Frigga, but no information is given as to how much he learned or why he doesn’t always favor spells. His power levels are incredibly inconsistent (he forgoes using magic when first confronted by the TVA, but is later shown using telekinesis to save himself from being literally crushed to death). And, strangest of all, there is a scene in which he tells Sylvie that he “can’t” enchant living beings. Loki, the millennium year old Trickster sorcerer god, who can hold an Infinity Stone with his bare hands, reanimate Surtur in the Eternal Flame, and trick the average person using illusions with ease, can’t cast a little enchantment? And if so, why not? The series offered precious few explanations concerning Loki’s magical abilities and instead only raised more questions. And in this way, Loki is once again relegated into the background and left with not a single shred of any new characterization or development.

Loki contains multitudes, but the series reduced him to two dimensions.

This isn’t to mention every other facet of Loki’s story that could have potentially been explored to great success in this series-- his torture and subsequent partial mental influence at the hands of Thanos just before the events of Avengers 1 is one obvious example, as is his youth on Asgard, as are his suicidal tendencies (people don’t tend to survive falling off the Bifrost, and he knew that when he threw himself off of it), plus infinite other facets of him. Of course, it was both necessary and more interesting for this series to be its own story rather than one which lingered on past films-- but that’s not to say that none of these plot points should have come back, at least subtly, to play a role in this story. Plot points exist to be brought back later, not completely ignored. Otherwise a story may as well be written about a completely original character.

#loki #loki 2021 #loki disney+#loki discussion #loki discourse #loki spoilers #lokius #loki x mobius #loki x sylvie #sylki #marvel #marvel discourse #loki review #mcu loki #loki series #loki season finale #loki season 1 #loki ship

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lucemferto · 3 years

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Someone left a very good comment under my video on Technoblade (link) and I thought I’d post it and the reply here, so that more people could see it.

My response under the cut

I was in the middle of editing the next video and in comes you with all of your good points that I want to respond to, how dare you!

Not, but seriously, thank you for your comment! I’m going through your points in order.

1) You bring up a good point about Techno’s retirement and his choice to try and remain non-violent throughout it. The reason why that didn’t register with me so much as character development is because – from the perspective of someone who hasn’t watched every stream and only kept up through clips and compilations – the change felt very … uneven. I don’t know, if there was like a character journey or some-sort of soliloquy or something like that, but to a viewer like me, it didn’t pick up. It felt like they knew what they wanted to do with the Butcher Army and didn’t give too much thought as to how he got from End of Season 1 à Beginning of Season 2.

But honestly, that’s a minor nitpick, there’s worse cases of character inconsistency on the server, so it’s not something I would hold against him.

But this kinda ties into a bigger point, that I feel like I didn’t articulate well enough in the video: My problem with Techno’s worldview being reaffirmed has less to do with anarchy being good, but more that Techno’s disproportionate use of violence is shown to be the effective and ultimately “right (?)” way to go about it.

Like, it would have been really nice – also from an emotional conflict point of view – to have Techno seriously struggle with whether he should return to his violent ways, even after the Butcher Army event. Frame it like a tragedy, where the viewer is aware that this isn’t healthy for Technoblade – an ultimately self-destructive spiral that betrays what he came to learn about violence during his retirement.

But that’s not how it plays out – instead it serves 2 narrative purposes: 1) facilitate cool team-ups like Techno & Tommy and later Techno & Dream and 2) evoke classic action tropes ala John Wick and 80’s Arnold Schwarzenegger. There’s no time to reflect or to gather himself, to pick himself up from his lowest point – instead he immediately unveils his vault full of withers like he’s Morpheus from the Matrix. It’s pure power fantasy at that point – and with the Butcher Army posing frankly no threat at all, the stakes for Techno couldn’t be lower.

2) This one is complicated, in my opinion, because I still believe that through framing and allusion, L’Manburg, in Season 1 in the very least, is positioned as a Symbol of Good. It represents freedom from Dream’s oppression and the framing of stuff like Tommy’s last speech around the L’Mantree definitely communicates on an extradiegetic level that L’Manburg is meant to be seen as good.

But you’re right, that – even during Season 1 – there are points where we are shown the dark sides of the nation. What I’m unsure of is how much of that is intentional use of grey morality and how much of it is funny bits from early on, when the writing hadn’t yet solidified the themes it was trying to communicate.

In Season 2 though, your guess is as good as mine. It’s just very … difficult to pin down at what shade of grey L’Manburg is operating or rather how we, the viewers, are supposed to perceive them. Like, the reason why the Butcher Army event sticks out so badly in my mind is that there’s so little build-up to it – from the perspective of Tubbo’s and Fundy’s character (Quackity is a … special case). They’re just suddenly so cartoonishly corrupt – which, I need to emphasize, I’m not against having a Tubbo Corruption- or Villain-Arc. I would be very here for it. But during Tommy’s exile, when they had ample time to build up Tubbo going down a dark path – which would have been especially cool if they had involved Phil in that – they didn’t take it. Tubbo’s just spinning his wheels and then – BOOM – he evil, corrupt government. For me, it just seems sloppy.

As for the destruction of L’Manburg – here’s where I would talk about suspension of disbelief. Like, yeah, there’s six people living in L’Manburg, three of which comprise the government – so it’s really neither a nation nor a government, it’s barely an apartment complex. But we’re meant to understand it as a full nation – and as such, I still think the complete obliteration of it was a Bad Thingtm to happen. That’s the hard stance I have to take.

I read Ghostbur kind-of like the stand-in for the general populace – the people who were disenfranchised by what took place. Because when they don’t have extras to fill that role, a main character has to sort-of “symbolize” it (similar to how Niki was the stand-in for the “rebellion” in Manburg).

Overall, the problem that I have with Doomsday – aside from my problems I have with Technoblade’s character specifically – is that it’s just so muddled in what it’s trying to say. It doesn’t read as moral complexity, but just like a bunch of half-ideas that weren’t properly developed and ended up not meshing at all. Dream’s victory is framed as a bad thing – something that’s reinforced by the Season 2 finale – but from Techno’s side the destruction of L’Manburg is a triumphant moment?

Is it to show that L’Manburg was always just a shallow symbol? But Tommy, Tubbo, Quackity and Ghostbur never let go of it and are not framed as delusional or in the wrong. Again, the Season 2 finale explicitly frames Tommy’s attitude to attachment as in the right. Is it karmic punishment for Tubbo’s and Quackity’s descent into corruption? Tubbo’s arc was sloppy at best and his “epiphany” came completely independent from Technoblade and L’Manburg’s destruction. And Quackity played barely any role in Doomsday.

The people, who denounce L’Manburg like are either shown to not be in the right state of mind, like Niki and Fundy, or are still extremely traumatized by excessive amounts of violence, like Ranboo.

I hope, I could make my points clear. Again, thank you very much for your insightful comment, which helped me recontextualize a few of my own misgivings with Technoblade and Doomsday.

#dream smp #dream smp doomsday #dream smp season 2 #dsmp #dsmpblr #dsmp analysis #dream smp analysis #technoblade #tubbo #tommyinnit #dream #dreamwastaken #quackity #ghostbur

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lovesquareshippingtrash · 2 years

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The only kind of fair ML blog I can think of is Immaturity of Thomas Astruc (or IOTA). It started out as a blog dedicated to exposing Astruc's behavior on Twitter, but now it's an ongoing critique of the whole show. The guy who runs it tries really hard to give the show a fair shake, and it brings up some interesting concepts and criticisms. The only issues are that it can lean a little heavily on the cynical side, and it's also pretty harsh on Adrien. Might be good to poke through, just to see.

This is in response to this post.

Thanks for the suggestion, but yeah... Reading through episode reviews, it was just... too much. They really seemed to hate Adrien, and it was someone with the same mindset that prompted my original post 😅 For instance, there were points about Adrien shouldn't think of Marinette as one of his best friends because they only spend time together in a larger group, when it's required externally, or by coincidence, which, first, does not mean you can't be very close friends, and, second, ignores the events of episodes it literally cites. Take Kung Food - Adrien went out of his way to go to help Marinette, then continued to hang out with her specifically even after it was shown he didn't need to.

I mean, I know Adrien is not perfect, but it felt a bit like it was missing the point.

I'm not here to yuck anyone's yums. People can enjoy whatever they want for whatever reason. For me, I came to this show understanding the premise of the two superheroes in love with each other without realising it; the love square. That's what drew me in, and that's always what I've liked the show for. Without that aspect, I wouldn't have watched the show in the first place, and I certainly wouldn't have watched more than a few episodes. If I didn't enjoy the love square, I wouldn't be here. Part of why I find it confusing that people watch the show and don't like the love square - I don't get what they like about the show.

The shows writing is flawed at best and just bad at worst. Astruc, certainly, has a lot of issues. I can understand not liking the writing, but it feels weird to me to hatebon the characters for being written badly. Adrien is clearly intended to be a kind, loving boy, who has suffered years of neglect and abuse, who just wants to have friends and be a normal kid - who takes the opportunity as a hero to relax from the public image expected of him to be a little silly (yes, often at inappropriate times, which is one of his defining flaws, because a good character SHOULD have flaws), who is also genuinely enamoured by his partner. He's also a 14 year old boy who doesn't always know the appropriate way to handle his feelings. Him being a bad partner, or manipulative, or refusing to listen - the premise of the show makes it pretty clear that that isn't who the character should be. I get mad at the writers for that, not the character - we've seen time after time that development will get ignored or retconned away to fit a story. We're supposed to believe in Puppeteer 2 that Adrien thinks Marinette hates him? That's a fault of the writing.

Any major character is subject to this. Chloé gets it worst of all, with her redemption arc having a dozen different starts, culminating in her just choosing to help the villain publicly and then straight up acting like an outright villain in her daily life - the harness she used to descend from the ceiling in Gabriel Agreste?? I'd expect that from Looney Tunes, not a show with an ongoing plot that wants the overall story to be taken seriously.

This has becoming super rambly. Sorry to anyone who's actually read all this. Just, for me, I guess the discussion about the show I want to see would be more about the flaws and merits of the writing, not pinning the writers' failures on mishandled characters. For instance, the good: the serialisation of most of season 4, with Alya's arc supporting Ladybug, Luka's arc with Jagged, etc. The bad: the show regressing to treating Cat Noir as a sidekick as time has gone on - and this is more season's 2 and 3 I mean than 4. I mean Fu leaving him in the dark because Plagg failed to bring Adrien to him, only meeting him once to give him the power ups and mot giving him the same knowledge and training as his partner, when Fu should have known from his monitoring of Adrien's situation had badly Adrien needed support. And if you want to do an arc where Cat Noir feels neglected and left out, show that he and Ladybug both have valid perspectives, instead of him just being petulant, because the overall characterisation and narrative tell us that he shouldn't just be petulant, that's a failure on the writing, not the character. Maybe don't go including a remote controlled toy that can be used for anonymous communication in a between season special and then make their inability to contact each other a major plot point of the next season. Maybe have them TALK and understand each other and have apologies go both ways and just uuggghhh

But like, Fu not giving Adrien the best treatment? That doesn't feel necessarily like a flaw on the part of the writing, but a flaw from the character, which can be GOOD for the show. We know Fu isn't perfect, and Su-Han makes this even more clear after the fact. All of that can be used in an effective way to set up Adrien feeling like he's being left out. The setup is there; his decision to leave in Kuro Neko could have been impacted by Nino telling him that he and Alya know about each other's identity - which Cat Noir can't talk to Ladybug about, because he can't explain that he knows Nino well enough to tell him, and Adrien can't talk about because why should it matter to Adrien? But instead he's just angry that he wasn't involved and refuses to wait 5 minutes, or just arrange a time during a patrol or whatever to talk about it, and how they could make arrangements. Say, they could make plans so that, in future, he could handle distributing and collecting some Miraculous. Maybe even storing them separately so they're not all in the same place, liable to ALL get stolen if one is like in the season 3 finale - his petulance here doesn't feel, to me, like a character flaw, but a writing flaw.

Oh, and while we're at it, maybe stop trying to claim that the identity reveal/them dating (which could easily be two separate things, but no, let's just have two alternate timeline episodes essentially exploring the same concept instead of any real shakeup of that formula, except the second one ontributes even less to the overall plot than the first because this time nobody knows anything about it) would lead to Gabriel winning/end of the world, because 1) their relationship is the hook of the show, your unique selling point, and you've already made clear that it's endgame, and 2) it's blatantly false, in both instances it was because Gabriel found out, which had almost nothing to do with any of it - you're telling me that Gabriel catches them because he overhears Adrien say "my Lady", which could easily just be, like, him emulating Cat Noir, or SO many other things, yet he's never simply overheard Adrien talking to Plagg? The problem has NOTHING to do with the relationship, and trying to force us to think that with Cat Blanc and Ephemeral is just insulting.

More rambling. Point is: I want content that recognises both the flaws and merits of the characters in a positive way, and recognises that the failures are a product of the writing - whilst also recognising that the writing has done a LOT of cool stuff.

#ml salt #long post #sorry again #I'm getting too bogged down by fandom salt #I need more love square fluff #feel free to send recommendations for fluffy blogs or fics or whatever #I could use some

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itsclydebitches · 3 years

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Hello again! Im the tinfoil hat anon with the long ass asks and I finally had the time to read your response. Thank you, it makes my day reading your answers. I honestly just enjoyed them over a cup of coffee like a good book.

Now, the gun pointing scene I mentioned was in fact the one from the droid fight facility like the other anon suggested. But I really liked that you covered the boat scene too, I haven’t thought of it much myself and now I definitely have!

I also would like to mention I love your “candy bar” choice analogy and I 100% agree Hunter’s “invitation” to join back wasn’t welcoming in the slightest. It is very likely just an obligation as you said. Sort of “you gave us a chance, we owe you a chance too”.

And the problem with it is now I am struggling to figure out how the batch members might change their attitude toward Crosshair going forward, especially Hunter. As of right now Crosshair’s best relationship is not with his brothers but with Omega(as surprising as this is). And I think he does realize now she cared about him the most out of all of them during the short time they interacted(both 1st and last episodes). Even between themselves(not counting Omega) I find most of the bad batch members to be cold and distant to each other. They feel less like a family than Rebels for example. And they aren’t even a “found family”(a trope everyone loves) but an actual one! And I get that they’re soldiers and supposed to be tough, I don’t expect them to share all “the feels”. I just can’t put my finger on it but something feels off. I agree with your previous post, the show doesn’t do a very good job showing or even telling they love each other.

Will Hunter and co only start caring about their brother again only after he leaves the empire?(assuming he does at some point). What about Disney’s prevailing theme and message that “family always love and care for each other no matter what”? I guess it’s “family always love and care for each other but only if you’re good guys making right choices”. There is no room for mistakes or wrong decisions. In the last episode everyone form the batch seemed to have given up on Crosshair(besides Omega). For now their attitude seems to be just “you’re not our enemy” and that’s that.

I realize Crosshair is a “bad guy” and consciously made his choice(and we know it’s the wrong one) but to me it felt like he thought he didn’t even had a choice or rather became so lost and confused he actually thought he chose the empire as “the lesser evil”(as in the less shitty choice out of all the other bad ones). We as audience have the benefit to know exactly how atrocious the empire really is but maybe Crosshair still doesn’t realize that.

So what exactly must Crosshair do to get back “in their good graces” as you say? Start saving “the good guys”? Save the bad batch multiple times? There is a popular opinion on how Crosshair can redeem himself. That he eventually heroically sacrifices himself to save them. I personally REALLY hope it’s NOT what’s going to happen but I heard so many people speculating his story is set up to be redemption=death. I know you mentioned you don’t want “Vader style redemption” either. Personally I think it would be a waste of a character who has a lot of potential. And I just think that the batch kind of don’t really deserve his sacrifice(maybe save for Omega) after how they never tried to save him themselves and how they treated him overall. Maybe he will risk his life to save Omega at some point and that will “prove” to Hunter he cares? Although he has already shown he cares by saving her(even if in Crosshair’s own words it’s just so they’re “even”). And the thing is, he doesn’t need to prove that he loves them, he already did that in episode 15 and made it clear he does care. He actually went to extreme by shooting his squad to prove his loyalty. What were the moments the batch demonstrated they care about him? Hunter saying “you never were our enemy” and taking his unconscious body to safety? To me Hunter “not leaving him behind” during bombardment felt more like guilt about the last time it happened and an obligation to Crosshair for helping them with droids, rather than them showing care. And I kinda of think if that was any random civilian(or anyone other than an enemy or a threat) they would carry them out too just because that’s what good guys do and not because it’s their brother. You also mentioned that minutes later Hunter snaps at him with “if you want to stay here and die, that’s your choice” which I agree can be interpreted in different ways. And I think it’s one more point to it being an obligation that in Hunter’s eyes is fulfilled now. He corrected his mistake of leaving a brother behind and saved him this time, now his guilt won’t burden him any longer.

Anyway, I can’t wait for season 2 and I appreciate you and all the anons sharing the tinfoil hat, interacting and speculating together. Those discussions have been a lot of fun!

TLDR: How do your think the relationship between the brothers will mend or evolve in the next season? Do you think S2 will improve in portraying the batch more as a family rather than a group of mercs doing missions together? What are your thoughts on the popular idea of Crosshair’s redemption by ultimate sacrifice? As in, how likely do you think this scenario is?

Anon, that is just wonderfully hilarious to me. Ah yes, the sunrise, a good cup o' joe, and the overly long character analysis of a snarky, fictional sniper. Exactly what everyone needs in the morning! 😆

You know, TBB is far from the first show I've watched where there's an obvious, emotional conclusion the creator wants the audience to come to—the squad all love each other Very Much—yet that conclusion isn't always well supported by the text. It creates this horribly awkward situation where you're going, "Yes, I'm fully aware of what the show wanted to do, but this reading, arguably, did not end up in the story itself. So what are we talking about here? The intention, or the execution?" It's like Schrödinger's Bad Batch where the group is simultaneously Very Loving and Very Distant depending on how much meta-aspects are influencing your reading: those authorial intentions, understanding of how found family tropes should work, fluff focused fics/fan art that color our understanding of the characters, etc. And, of course, whether someone saw TCW before they watched TBB. I personally wouldn't go quite so far as to say they're "cold" towards one another—with Crosshair as an exception now—but there wasn't the level of bonding among the squad that I expected of a show called The Bad Batch. Especially compared to their arc in TCW. The other night I re-watched the season seven premiere and was struck not just by how much more the squad interacted with each other back then, but how those interactions added depth to their characters too. For example, Crosshair is the mean one, right? He's the one picking fights with the Regs? Well yeah... but it's also Wrecker. While they're trying to decide what to do with Cody injured, Jesse calls out Crosshair on his attitude—"You can't talk to Captain Rex like that!"—and Wrecker's immediate response is, "Says who?" and he hefts Jesse into the air. And then he just holds him there, clearly using his superior strength to do as he pleases, until Hunter (sounding pretty angry) tells him to put Jesse down. If Wrecker had put him into a more classically understood bullying position, like pinning him to the ground, it would probably read as less funny—less "Haha strong clone lifts Jesse up in the air!" and more "Oh shit, strong clone can do whatever the hell he wants to the Regs and few are able to stop him." It's such a quick moment, but it tells us a ton about Wrecker. That he's going to stick up for his brothers, no matter the context (Crosshair deserves to be called out). That he will gleefully assist Crosshair in bothering the Regs (something that is reinforced when he later throws the trays in the mess hall, after Hunter has already deescalated the situation). That he's likely been hurt by awful treatment from the Regs too. That he'll only listen to Hunter when it comes to backing off. Little of this work—that interplay among the squad that shows us new sides to them other than basic things like "Wrecker is the nice, happy brother"—exists in TBB.

Or, at least, little exists after Omega becomes an official member of the squad.

Because, as said previously, she becomes the focus. I don't mean that as a total criticism. As established, I love Omega. But if we're talking about why the squad can feel so distant from each other, I think she's the root cause, simply because the story became all about her relationships with the Batch, rather than the Batch's relationships with each other. Having dived headfirst into reading and writing fic, it occurred to me just how many of the bonding moments we love, the sort of stuff we'll see repeated in fics because we understand that this is where the story's emotional center is, are given to Omega in canon:

Someone is hurt and in need of comfort. Omega's emotional state is the focus + moments like her being worried over Hunter getting shot.

Someone needs to learn a new skill. Echo teaches Omega how to use her bow.

Someone reveals a skill they never knew they had before. Omega is a strategic genius and plays her last game with Hunter.

Someone is in serious danger and in need of rescue. Omega rescues the group from the slavers + is the most vocal about rescuing Hunter. (Which, again, is a pretty sharp contrast to the whole Crosshair situation.) Omega, in turn, needs rescuing from things like the decommission conveyor belt.

Similarly, someone is kidnapped and in need of rescue. Omega is kidnapped twice by bounty hunters and the Batch goes after her.

Someone saves another's life. Omega saves Crosshair from drowning.

Someone does something super sweet for another. Wrecker gives Omega her room. Omega gives Wrecker Lula.

A cute tradition is established between characters. Wrecker has his popcorn-esque candy sharing with Omega.

Someone hurts someone else and has to ask forgiveness. Wrecker is upset about nearly shooting Omega and they have that sweet moment together.

Note that most of these examples could have occurred between other Batch members, but didn't. Someone could have created a space for Echo on the ship too. Wrecker also could have apologized to Tech for choking him, etc. It's not that those moments shouldn't happen with Omega, just that there should be more of a balance across the whole season, especially for a show supposedly focused on the original squad. Additionally, it's not that cute bonding moments between the rest of the Batch don't exist. I love Hunter selling Echo off as a droid. I love Wrecker and Tech bickering while fixing the ship. I love the tug-of-war to save Wrecker from the sea monster. Yes, we do have moments... it's just that comparatively it feels pretty skewed in Omega's direction.

So, as a VERY long-winded way of answering your question, I think we need to fix the above in order to tackle Crosshair's redemption in season two. Now that we've had a full season focused on Omega, we need to strike a better balance among the rest of the squad moving forward. We need to re-established the "obvious" conclusion that the rest of the Batch loves Crosshair and that's done (in part) by establishing their love for one another too. To my mind, both goals go hand-in-hand, especially since you can develop their relationship with Crosshair and their relationships with each other simultaneously. Imagine if instead of just having Wrecker somewhat comically admit that he misses Crosshair (like he's dead and they can't go get him??), he and Tech had a serious conversation about why they can't get him back yet, despite very much wanting to. Imagine if Echo, the one who was rescued against all odds, got to scream at Hunter to go get Crosshair like Omega screamed at them to go back for Hunter. Imagine if we'd gotten more than a tiny arc in TCW to establish the Batch's dynamic with each other, providing a foundation for how they would each react to Crosshair's absence. Instead, what little we've got in TBB about Crosshair's relationship with his brothers is filtered through Omega: Omega's embarrassment that she knocked over Crosshair's case, Omega treating Crosshair's comm link like a toy, Omega's quest to save Hunter that just happened to involve Crosshair along the way.

Obviously, at this point we can't fix how the first season did things, but I think we can start patching over these issues in season two. It would be jarring—we'd still be 100% correct to ask where this "Brothers love you, support you, and will endlessly fight for you" theme was for Crosshair's entire time under the Empire's thumb... but I'd take an about-face into something better than not getting any improvement at all. It is frustrating though, especially for a show that I otherwise really, really enjoyed. For me, the issue isn't so much that the show made a mistake (since no show is perfect), but that the mistake is attached to such a foundational part of the franchise. Not just in terms of "SW is about hope and forgiveness" but the specific relationship most clones have with each other: a willingness to go above and beyond for their brothers. The focus on Omega aside, it's hard to believe in the family dynamic when one member of the family was so quickly and easily dismissed. I couldn't get invested in Hunter's rescue as much as I should have because rather than going, "Yes!! Save your brother!!!" my brain just kept going, "Lol where was this energy for Crosshair?" It messes with your reading of the whole story, so in order to fix that mistake going forward, we need to start seeing the bonds that only sometimes exist in season one. Show the guys expressing love for one another more consistently (in whatever way that might be—as you say, soldiers don't have to be all touchy-feely. Give us more moments like Wrecker supporting his brothers' bad habits) and then extend that to Crosshair. Which brother is going to demand that they fight for him? Which brother is going to acknowledge that they never tried to save him? Which brother is going to question this iffy statement about the chip? In order to buy into the family theme, Omega can't be the only one doing that emotional work.

Ideally, I wouldn't want Crosshair to go out of his way to prove that he's a good guy now. I mean, I obviously want him to stop helping the Empire and such, duh lol, but I'm personally not looking for a bunch of Extra Good Things directed at the Batch as a requirement for forgiveness. Simply because that would reinforce the idea that they're 100% Crosshair's victims, Crosshair is 100% the bad guy, and he's the only one who needs to do any work to fix this situation. Crosshair needs to stop doing bad things (working for Empire). But the Batch needs to start doing good things too (reaching out to him). Especially since Crosshair made a good play already, only to be met with glares and distrust. He saved Omega! And AZI! And none of them cared. So am I (is Crosshair) supposed to believe that saving one of their lives again will result in a different reaction? That doesn't make much sense. And no, his own life wasn't at risk when he did that, but does every antagonist need to die/nearly die to prove they're worth fighting for? As you say, he's already shown that he loves them, far more than they've shown the reverse. Every time Crosshair hurt them (attacking) it was while he was under the chip's influence. In contrast, the group has no "I was being controlled" excuse for when they hurt him (abandonment). Season two needs to acknowledge the Batch's responsibility in all this—and acknowledge that they're all victims of the Empire—in order to figure out an appropriate arc for Crosshair's redemption.

Right now, the issue is not Crosshair loving his brothers, the issue is how Crosshair chooses to express that love: trying to keep them safe and giving them a purpose in life by joining the organization that's clearly going to dominate the galaxy. The only way to fix that, now that his offer has been rejected, is for him to realize that a life on the run from the Empire, together, is a better option for everyone. And the only way for that to happen is for the Batch to seriously offer him a place with them again. They need to make the first move here. They need to fight for him. And yeah, I totally get that a lot of people don't like that because it's not "fair." He's the bad guy. He's with the fascist allegory. He's killed people and has therefore lost any right to compassion and effort from the good guys... but if that's the case, then we just have to accept that (within the story-world, not from a writing perspective) Crosshair is unlikely to ever come back from this. When people reach that kind of low, they rarely pull themselves out on their own. They need other people to help them do that. Help them a lot. But with the exception of Omega's reminder—which Crosshair can't believe due to how everyone else has treated him—they leave him alone and seem to expect him to fix himself first, then he gets their support. It needs to be the other way around. Support is what would allow him to become a good guy again, not "Well, you'll get our love when you're good again, not before." That's unlikely to occur and, as discussed, it doesn't take into account things like this bad guy life being forced on Crosshair at the start. If the story really wanted this to be a matter of ideological differences... then make it about ideological differences. Let Crosshair leave of his own free will, right at the start. Don't enslave him for half the season, have him realize he was abandoned, imply all that brainwashing, give him no realistic way out, and then punish him for not doing the right thing. This isn't a situation where someone went bad for the hell of it—the story isn't asking us to feel compassion for, say, the Admiral—it's a situation where Crosshair was controlled and now can't see a way out. That context allows for the Batch, the good guys, to fight for him without the audience thinking the show is just excusing that behavior. They should have been fighting from the start, but since they didn't, I hope we at least start seeing that in season two.

Ultimately though... I don't really expect all of the above. The more balanced dynamics and having the Batch fight for Crosshair rather than Crosshair going it alone... I wouldn't want to bet any money on us getting it, just because these are things that should have been established in season one and would have been more easy to pull off in season one. (If the Batch wouldn't fight for Crosshair while he was literally under the Empire's control, why would they fight now when he's supposedly acting of his own free will? It's backwards in terms of the emotional effort involved.) But again, it could happen! I'd be very pleased if it did happen, despite the jarring change. I don't want to make it sound like I think they're going to write off Crosshair entirely. Far from it, I think there are too many details like his sad looks for that, to say nothing of Omega's compassion. But the execution of getting him on Team Good Guys again might be preeeetty bumpy. I expect it to revolve around Crosshair's sins and Crosshair's redemption, even if what I would like is balancing that with Crosshair's loss of agency, the Batch's mistakes, and their own redemption towards him.

Honestly though, I just hope that whatever happens happens soon. It's a personal preference, absolutely, but after a season of Crosshair as the antagonist, I'm ready for him to be back with the group, making the Empire (and bounty hunters) the primary enemy. Whether his return happens through a mutual acknowledgement of mistakes, or through Crosshair being depicted as the only one in the wrong who has to do something big to be forgiven... just get him back with the squad lol. Because if the writing isn't going to delve into that nuance, then the longer he remains unforgiven, the longer some of us have to watch a series while going, "Wait, wait, wait, I really don't agree with how you're painting this picture."

#TBB #The Bad Batch #SW #Star Wars #mymetas #long post

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having-a-hyperfixate · 3 years

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Secret Reports

Gonna just edit this thing and put line breaks as I get more of them.

I’m also working on the rest of the completion, and will probably wander off in the middle of this to do Another Day, which will probably have its own post. I fully expect that to be sheer madness.

#1 So is it just me or is Mr H writing these reports to channel how extremely stressed he is. Cuz like. Mood. *gestures vaguely at blog* *gestures at this post specifically*

I. Hold up. Skeezy McFuckwad and Joshua did what resulting in which now. Excuse me. EXPLAIN!??! Joshua had a sneaky Game running with Skeezy that directly lead to Hazuki ordering Skeezy to destroy Shinjuku??? Is that what I am reading. Or possibly the order was already in the works, and then there was the Game, which ultimately just pushed that forward?? You can’t just say shit like that and not give details ffffffff.

#2 Mr H having about as much contempt for Shinjuku rules as I do I feel seen haha. Bogus indeed. I can’t remember if I said it in one of my other posts, of if it was in a group chat, but I made a comment somewhere how this ruleset doesn’t seem to work with the stated purpose of the whole Reaper’s Game system. Sweet validation.

#3 Not much to say except that if I had read this entire report when I actually got it, I would have been much more alarmed by all of the Replays Rindo has to do after that. I got it partway through week 3 but decided not to read it until I beat the game and then BAM it has this lovely tidbit about potentially being able to destroy the UG and RG.

#4 So, the business that the fandom refers to as the Long Game is known in universe by the higher-ups and Shibuya’s impurification, because it didn’t get ‘purified’ like Shinjuku (I object to that term but ok).

“The hierarchical freeze presumably stems from opposition to the impurification”

Skeezy wasn’t reprimanded when he arrived in Shibuya “possibly because most Higher Plane denizens still oppose Shibuya’s impurification”

ExcUSE ME. I. WHAT. In one of the secret reports for the first game, Mr H says something about the way things turned out be an ‘ideal parallel world’ according to the Angels. I guess he only meant the ones who didn’t want the city destroyed holy shit. That most of them didn’t want Joshua to change his mind and STILL DON’T is so massively fucked up I can’t. Dear Higher Plane, what the actual, ever loving fuck.

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#5 One hundred and four Games under Shiba. That’s… so. many. teams. Holy shit. And the teams we knew had seen at LEAST 30 teams go. And the three teams we saw weren’t small. So many people…

Also, “Minamimoto seems to be plotting something” is the funnies thing I’ve read in ages OF COURSE HE IS that’s what he DOES. XD That was some mood whiplash.

#6 I was so hung up on the lack of entry fee for so long you don’t even know. Like. Those were so important in the first one it was baffling to me that Shinjuku rules didn’t have anything similar. And then eventually I just decided that the whole Game wasn’t being run correctly and Shiba was clearly after something other than driving the improvement that’s supposed to be the point.

I would like more explanation on this ‘Rindo’s stagnation makes him perfect for time travel thing’. I kind of understand how his reactions being consistent would be helpful in being able to control where the timeline goes (also I just realized this further confirms that Angels remember the other timelines glad I wasn’t imagining that the Prime days are a blur), but what does he mean about being able to maintain abnormally high levels of imagination? (It might tell me later so don’t say anything lol)

“I can only hope I’m not overthinking things.” Oh, you aren’t. If I’m understanding everything correctly, Skeezy actually had two proxies. And poor Rindo managed to end up being proxy for both sides at the same time which is. A mess.

#7 Well, finally we know how Coco managed to get her hands on a taboo sigil. Plagiarism. Lmao. That at least makes sense and I can worry less about her being Something Else. I would like a word with whoever didn’t clean that up from Udagawa long enough for her to copy it though. That’s hilarious. Interesting that Mr H thinks it wasn’t a perfect recreation though, that something in him got changed. Once again, please elaborate. Please. *headdesk* What prompted Coco to just. Copy a taboo sigil though. Cuz that seems. Unusual.

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#8 Ok there’s a lot to unpack in this one. Namely, more Shinjuku rules. I would love to know if these are long standing rules or relatively recent. Cuz like. Did Shinjuku’s Game ever run in a way that would drive the kind of improvement that’s supposed to be the overall goal? Or has it always, or at least for a while now, been basically a meat grinder? The players that don’t clear that minimum bar probably just get erased outright, I would think. Actually, I’m confused. If normally, one team would get to leave and one team would be erased, wouldn’t that normally keep the average pretty level, so the Game would basically go on forever? Otherwise what do you do with all the other teams that are between first and last? I’m confused. It can’t be normal for teams to keep asking for more rounds. And what if the winning team says ‘everyone gets to go home’?

“The Conductor has yet to contact the Composer” and “it is possible he is unaware of the Higher Plane’s purification protocol.” I don’t know why, but I get the feeling these are important.

#9 These secret reports are really driving at the whole ‘Rindo just goes with it’ thing, aren’t they. Like, that was his thing, right? He has trouble making definitive decisions? So his arc culminates in that moment in Udagawa where he tells Hazuki that he’s going to take the risk and go back one more time, where he’s making that decision purely for his own sake. And here Mr H seems to be saying that prodding Rindo down the road to character growth is going to be a lot harder than it was with Neku back in the day. Which makes sense, I think. Confronting someone with the concept that other people have value is a lot less complicated than trying to get them to not only make a firm decision, but to choose something that is purely because it’s what they want and need, not because someone else thinks they should.

It’s a little alarming that this report implies that if the pin wasn’t absorbing the Dissonance caused by the Replays, the UG and RG would already be having a bad time. Yikes. This is the report for day 2 of the second week. We haven’t even gotten into the crazy time travel yet.

Aaaaand #10 is for completing the social network, so I have to actually go do Another Day. I want to read these in order; it is much less confusing that way.

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#10 I really shouldn’t read these late at night with a possible migraine coming on, they’re already confusing enough. The bits that made sense: Uzuki was acting Conductor damn girl. (Did she have to deal with Joshua and was he in Dignified Mode or Being a Shit Mode because that’s possibly an oof.) I had assumed Shiba was Shinjuku’s Conductor and then just kinda took over after they moved in but apparently not? And RIP the actual Conductor, apparently. Weird that so many Reapers made it but the Conductor, who by all rights should have, didn’t.

I am slightly concerned by the fact that there’s standard procedure for obliterating a district. That’s. Alarming.

I don’t think page 4 is continuing the thought on page 3. Fucking. Stop that. Don’t just say a thing and then start talking about something else I would like EXPLANATIONS. UGH. “Almost” he says. I’m going to go out on a limb and assume that almost is a big deal, so why don’t you tell me about it.

Four cases where a district got into trouble before a final decision on whether to reset or not was made. And one was the last game. I wonder if that means whatever was wrong that made Joshua want to destroy it, or if the ‘imbalance’ was all the madness that happened after he agreed to one final Game with Kitaniji and the left the UG. Cuz in one of the first set of secret reports, it says that with the Composer absent, the UG is starting to fall apart as the rules are no longer valid, or something like that. I would definitely call that an imbalance.

#11 All I care about in this report is that Mr H wants to have a digital art bonding party with Kaie and that is so random why are you writing this down you absolute goober. The first page of this report is like ‘everyone is getting depressed’ and then just a wild left turn into dork-town. Lmao what.

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#12 I don’t think Mr H knows at this point (you get this report for W2D5’s Boss Noise) that the Ruinbringers are all Reapers. He’s gonna be mad. He does know what Shoka is up to though. He’s worried. Aw.

#13 It didn’t occur to me until this report hit me in the face with it, but they’ve set up a fantastic contrast between the two people Rindo knows from online. One is. not great, let’s say, because I did not take the reveal of Motoi’s true self well. The other is Shoka, and she’s a real friend. I now see what you did there. One relationship that’s a farce and one that really, really isn’t.

#14 Me, out loud, at 1:30 in the damn a.m.: WAIT. HOLD THE FUCK UP.

If getting Tsugumi out of Mr Mew required an Angel, how in the hell did Shiki manage to…? What. I’m very confused.

Also damn, saving Tsugumi was so important that Shinjuku’s Conductor died for it. Did he know what she could do, the whole visions thing? Or maybe that something was wrong with Shiba and it would take someone like her to potentially stop him in the future?

I still would like to now how the hell Tsugumi got her hands on Mr Mew. Especially since its apparently the ORIGINAL Mr Mew and she seems to have had him during the inversion? What.

#15 So… Inversions don’t always happen when a region is purified. I’m trying to wrap my brain around what a ‘complete loss of character’ in and area that’s had an Inversion could mean. Like… I think I get it, but my brain won’t make words, let alone sentences. Like when you go into a hotel room, and it doesn’t feel like a home, as opposed to when you go to a friend or family’s house, and it does? Kinda like that but it’s the whole district that’s just… blank? That’s kinda creepy.

If there are so many who think a ‘regular purification’ isn’t enough, the a) what does that even look like, b) is that what Joshua was going to do to Shibuya and c) is there an intermediate step between ‘normal’ and Inversion? I have been staring at this report for literally 15 minutes now.

#16 “I wonder how [Shiba] will feel about all this after he is allowed to return to his former self.” Yuuuuuup. I still Do Not Like him, but dude was borderline mind controlled so like. Yeah. And I did get to kill him once, so. As long as he minds his business and isn’t a total dick from here on, whatever. It all just sucks.

*facepalm* Well at least we got to being suspicious of Replay eventually. Why did it take you this long Mr H. Though I do wonder what Rindo would have been able to do without the interference. He had to have some kind of latent skill for the pin to react to him, right? I’m now going in circles mentally trying to puzzle out if Replay is like, a leveled up version of whatever Rindo would have naturally had, and regardless, where exactly it came from. Because the only time I can think of when anyone had a chance to mess with the pin was when he didn’t catch it in the prologue. And I’m pretty sure it was Joshua who picked it up. Aaagh I’m giving myself a headache.

I find it hard to believe skeezy would just yeet a random time travel pin out into the world. That seems both dumb as fuck and inefficient.

#17 “Some of them who know what I am occasionally try to contact me.” Lol so Kariya DOES know who Mr H is, I take it. Alright.

I’m having some kind of emotion that Wildkat still exists in a way for the Reapers, and that some of them still go there.

I just imagined Uzuki texting him like ‘plz make the Composer fucking do something kthx’ and I’ve got the giggles now oh dear

#18 HA! I was right! Minamimoto WASN’T in control when he attacked us! ‘Distortions within himself’ though, that’s concerning. Does that have to do with how he’s come back from the dead twice now? And how Coco’s copy of the sigil was apparently imperfect?

#19 I was about to say ‘who would target him for his abilities?’ and then my brain turned back on because duh. Shiba and them were looking hard for Neku, to the point that they flooded the RG with Player Pins in the hopes that he would pick one up and get sucked into the Game. A thing that occurred to me last night at 3:30 in the morning because I am a disaster: Mr H says that Minamimoto ‘seems different’. Neku says much the same thing after he comes back. So… Neku’s ability to Scan all the way down to someone’s Soul is potentially close to as sensitive as Mr H’s long distance ability. Which is a little insane. On top of the fact that he can use basically every psych imaginable no problem, survived a pact with a Composer for a full week, while said Composer was using crazy light beams which probably should have melted Neku from the feedback, and then almost singlehandedly defeated the Conductor while somehow inventing four-way fusion attacks. Kid is mad powerful. And he’s just a human. Like, the OG secret reports say that people always become dramatically stronger when they become Reapers. Reaper!Neku would be unstoppable.

“This would be much simpler if I could sit down and talk with him.” Okay, I laughed out loud. Like, loudly.

So… Shinjuku’s Composer… basically had his Conductor assassinated by skeezy. And because skeezy was messing with Shiba’s head, he could prompt Shiba to take the Reapers to Shibuya afterwards, to start doing it there too? Hazuki ordered Shinjuku’s purification so… Oh dear. I might have a few bones to pick with him.

OH NO. OOOOOH. OH NOOOO. SHINJUKU’S CONDUCTOR. HE WAS TSUGUMI’S BROTHER OH MY GOD. That is fucking tragic what the fuck. What the FUCK. Okay several things make sense now but OH MY GOD FUCKING HELL I WAS NOT READY FOR THAT. Shiki fixing Mr Mew allowed Tsugumi to free herself because her brother had already done part of the work, I take it? Along with us getting the Noise out of there? No wonder the Conductor stayed, he had to go get his sister… Shit, man.

…… Did Coco steal Mr Mew and take him to Shinjuku?????

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#21 isn’t very interesting, just a rehash of stuff we already knew.

#22 Okay Haz IS Shinjuku’s Composer. What. Why? I’m. So confused. Why would he intercede on our behalf, and why NOW? He was happy to throw his own city away, but stepped in to stop skeezy in Shibuya? And then tried to put it back together, and when Rindo was miserable he came to try to understand why. And then cajoled Rindo into having a breakthrough in his Character Development to boot.

Mr H says he has an idea why Haz did all this. And then doesn’t fucking say it because OF COURSE. *headdesk* That gets really old really fast, game.

I’m now running through The Last Day’’ to get the final two reports and this entire section with Haz is somehow even more confusing with context. God damn it Nomura.

#23 Even after he said we were on our on this time, he forced the Soul Pulvis to reform as Pheonix Cantus to make it easier for us to fight? Bro. What. Are all Composers just… walking contradictions? Aiya.

Shoutout to emotional support Joshua at the end there lol. I remember half-hysterically thinking ‘what are you just here for moral support?’ but ok. And I mean, it did work, Neku did manage to do the thing, so. *sigh* Speaking of, it is ABSOLUTELY INSANE that Neku manage to sync with the entire city without his brain melting. Remember at the beginning of the first game when he scans for the first time and has a massive sensory overload? Look at my boy, all grown up.

#24 Holy shit world building on how exactly people come back to life without everyone freaking out. I never thought I would see the day.

I still have so many questions but that was always going to be the case. The first game had so many things it left open as well. Agh. Time to start wearing new holes in my brain overthinking things.

#let's liveblog: neo twewy #neo twewy spoilers #secret reports

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redwingsupportgroup · 3 years

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Sharon Carter is the Powerbroker: making it make sense!

SPOLIERS!!!!

I'm making this post because I have seen SO many mixed feelings and awesome theories about this. I bet someone else made something similar, but I had to speak my mind on this too. because to me, it makes sense... kinda.

Sharon appears for the first time in episode 3 titled "the Powerbroker" which at the beginning, is confusing since we don't actually see "him". a series of events involving her unfolds and here's why they align with her being the Powerbroker, her overall arc and character.

Sharon gets the boys into her house!

why would Sharon get them in? why would she help?

first, the house they have been taken to doesn't have to be her actual main base for her work. Sharon has obviously worked very hard to hide her identity, much that the Powerbroker is always referred to as a male not a female and everyone that has worked for/with her so far never recognized her face. building up a life as a front is very important for people staying undercover, she would stand like a sore thumb in Madripoor if she decided to do nothing and still be somehow protected and have money. it will turn eyes on her and raise questions.

Sam and Bucky aren't very different from the others, she needed to give them the whole back story and show them what has become of her. being the Powerbroker and having hope to be pardoned and walk back into the government facilities is something that will give her a huge push. she wasn't helping them! she was using them.

why would Sharon lead them to Dr. Nagel

Dr. Negal might have stopped working/was fired bythe Powerbroker after the flagsmashers laid hands on the serum and made a run for it, he is trouble in her way now. he knows the formula of the serum and might start making it for other people under the right (terribly wrong) circumstances, and that will stand in her way. she sends the boys to integrate him about Karli, in hopes to find her whereabouts. maybe she thought Zemo was controlled by Sam and Bucky and trusted he wouldn't do anything or, she wanted the man out of the way.

although, if Sharon actually trusted the theory that Zemo wouldn't do anything, it comes in contrast to the whole Powerbroker theory, a person so powerful they ruled a city of outlaws. which is honestly and simply, pure dumb mistake by the writes.

acts of service to complete the front

in every spy/double agent movie ever, the main character has to gain the trust of those they want to use/take down/uncover, Sharon is no different. she doesn't underestimate her target, an excellent and intelligent fighter (Sam), an ex assistant that's taught to doubt before trust (Bucky) and the man that single-handedly destroyed the avengers (Zemo). she had to pull extra cards for her whole act to be believable.

1. killing Sellby - this means less competition. the Powerbroker is introduced as ruthless and could actually care less about people, they are replaced easily by the never-ending line of criminals coming to the city. Sellby was the first card played to gain trust and sympathy from the dudes.

2. fighting the bountyhunters - she couldn't just let them go all in on the boys, she still needed to know about Karli whereabouts and the pardon. extra card for trust.

3. pin pointing John Walker for Sam - when your target calls and asks for a favor, confirming your theory of their trust towards you, you simply do it.

what does this mean to her character in the future and why exactly choose her for the role?

Sharon was introduced in CATWS as a nurse, then a shield agent. in both scenes she is in, she is almost treated as a filler, something to complete the scene. some people came out with the epic scene of her refusing to listen to the orders and actually aligning with Cap. which was taken from us so quick in CACW when she kisses him, and it's almost like all she have done was because she liked him (or that how it stood out for me), she didn't have a mind of her own and did things out of her heart not brain. which sucked.

then, she is on the run, for two years, while absolutely knowing that Steve was keeping Sam, Nat and Wanda safe and close to him in honor for the sacrifice they made on his behalf. whereas her sacrifice was downplayed and completely ignored. the snap happens, and she is alone alone. she spends the next five years in a city for criminals to try and live, all while she worked so hard to be an agent like Peggy Carter, and now she is in the lowest point of her life. also knowing that Steve survived the snap is out there basically unemployed and STILL choosing to ignore her existence and sacrifice. should we continue explaining how horrifying that is? I don't think so.

in TFATWS we finally see her having a piece of her own mind and speaking out her feelings and thoughts. she is a female character that is angry, and yet anger didn't consume her to the point of foolishness (which always happens in movies and MCU) she took her pain and anger and made something out of them, not necessarily a very good thing, but still. seeing a female character that doesn't typically underestimate the male characters and actually play them is kinda refreshing, she played not only Sam and Bucky, but a whole city of criminals, the doctor, Karli and the US government collectively.

Sharon is smart, powerful and very cunning. so, saying that people will "hate" her now, is kind of ridiculous in a way that we all know what it takes for a female character to be loved (straight, skinny, blonde, loves the men, loyal to the men, not emotional, unless needed to, tight clothes and cute jokes. we don't need more "loved" women if that is the price tbh) and this is a show that had people cheering for Zemo, a man that blew up the UN, killed many innocent people, manipulated many people, used the death of the Stark family for his benefit, brainwashed Bucky to fight and kill the avengers and his friends (and was willing to do it again and again), so I think they will be good with Sharon Carter having a bit of personality, motive and wanting to do something (awful) about the unjust she faced and the horror she lived through.

this is my opinion and I might be wrong in many ways, what do you think about it?

#sharon carter #tfatws #my thoughts #powerbroker #power broker #analyze

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makeste · 4 years

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so, Heroes Rising.

I saw it. it was exactly as good as I expected it to be. which is to say, very, very good.

this post is going to be chock full of spoilers guys. all the spoilers. and I’m not just talking those “ho hum All Might and Deku work together to beat the villain who could have seen that coming” first movie-type spoilers either. if you don’t yet know what happens in this movie, let me assure you that it is big. like we’re talking some momentous fucking shit. so if you don’t want to know then don’t click on this! but do go see the movie if it’s playing in your area because holy shit! it’s so good! (and so worth seeing on a big screen, too -- it was awesome.)

also there are some manga spoilers here too, because this movie does take place during the later manga arcs, and I did discuss some of those little manga-only easter eggs below. so I’ve tagged this with “bnha spoilers” accordingly, but just wanted to mention that here as well.

so I’m gonna break this down into sections, I guess. first I’ll do a quick-ish summary of the movie just because that’s important for context (and if you’re looking for a real in-depth summary, I recommend aitaikimochi’s very detailed summary here).

a quick-ish summary of the movie

so the kids all get sent to some tropical island in the middle of nowhere because the hero who used to be assigned to that island retired. and so the HPSC thought it would be a good idea to send a bunch of kids to serve as interim heroes until they find another professional who can take over. that’s right, this whole thing is the HPSC’s fault. because they just love their child soldiers. before you can ask, not a single grown-up actually accompanied them there either. it’s just the kids. and just 1-A for that matter, so I guess 1-B all got assigned to their own tropical island and had their own adventures which will never be turned into a movie much to Monoma’s dismay. alas.

anyway this island has a population of like 1k and nothing ever happens there, so at least the decision seems kind of reasonable in that light! like they basically figure that the kids will spend a few weeks helping the island’s population track down all their missing pets (which, this island has like a dozen pets go missing every hour, I’m not even joking. like 90% of the calls the kids get are “HELP ME I LOST MY FUCKING PET AGAIN.” maybe if you all closed your fucking front doors every now and then!! one person lost their parrot. honestly Kouda should just immediately move here once he graduates and they’ll keep him busy 24/7 and he’ll get rich enough to live like a king). it never occurs to anyone to wonder if maybe these particular kids, who are certified villain magnets and literally aren’t allowed to go anywhere without a professional armed guard these days because villains always try to kidnap them, might not need at least one adult to go with them. everyone is just like “no they’ll be fine.” spoiler alert: they were not fine.

the two little kids in the movie are Katsuma and Mahoro. I was worried Mahoro might be annoying, but my fears were unfounded and they are both adorable. but Katsuma is like five and Mahoro can’t possibly be older than seven. and they basically live on the island all alone, because their mom is a Dead Anime Mom and their dad works on the mainland. so these two preschoolers are alone and unsupervised all the fucking time, and so I for one was not at all surprised that they get up to shit like prank-calling the 1-A Hero Squad about fake villain attacks, because that’s exactly the sort of shit you would expect unsupervised five and seven-year-olds to get up to!! geez!! their neighbors supposedly check in on them, but how much attention can they really be giving them if they haven’t even noticed that Katsuma’s been wearing the exact same clothes for a fucking week now.

anyway so the villain is named Nine and he’s the same old standard villain guy who wants to create a new world order with his pals and all their strong quirks. but his base quirk (which I think is the weather-related one, but it’s hard to tell since spoiler alert dude is rocking multiple quirks) makes him get all fainty and weak after a short amount of time, so he goes to the League of Villains to get stronger and Ujiko is all “sure thing bud I’ll make it so you can hold multiple quirks.” and so he’s called Nine because he can hold up to nine quirks. and he can do the AFO thing where he steals quirks from people! which is like a BIG FUCKING DEAL!? guys but whatever it’s a movie!

anyway so long story short he wants a quirk that can fix his whole here-I-go-fainting-again deal, and through a series of events I won’t bother to elaborate on, he figures out that one of the cute kids (spoiler alert it’s Katsuma) has a quirk that can do that, so he goes to the island to steal Katsuma’s quirk. and he and his buddies arrive and they fight class 1-A, and Deku and Bakugou protect the cute kids from Nine, and everyone else fights the other bad guys, and there’s a ton of sweet studio bones action and the kids are all fucking bosses and it’s fucking sick and I fucking love it.

and then in the end, Deku and Bakugou fight Nine but he’s too strong, so Deku has to give Bakugou OFA so that they can double team him with a OFA combo (with Deku using the embers) to beat him. and afterwards they pass out, and OFA is all “back I go into Deku because guess what I can do that!” and it does, and then Bakugou doesn’t remember anything when he wakes up. and then they all leave the island and move on with their lives and none of these events are ever spoken of again. and basically everything in this last paragraph is why some people were a bit “WHAT THE FUCK, MOVIE” about this movie (though that seems to have died down now that people are actually seeing it and not just judging it by the summary). but let me tell you guys I have THOUGHTS about all of this, but I will get to those in a bit.

so that’s the summary. now this next section is going to be some general thoughts and observations which aren’t particularly organized, but which I would like to now share. and then afterwards I will share my thoughts on each of the 1-A characters in this movie since they all got their chance to shine and it was great. but anyway.

general thoughts and observations

first of all this movie reminded me that BnHA appeals to a very wide demographic. there were a ton of kids at the theater (and I know they were there to see BnHA because they were all talking about it), but strangely enough the auditorium I was in was mostly older kids and adults! but what I figure is that since both the dub and sub versions were playing, the majority of younger kids (and/or their parents) opted for the dub. at any rate it was fun to see so many fans there and be reminded that my nerdy hyperfixation anime is actually super popular lol.

for anyone who’s been disappointed with the overall lackluster animation quality of the latter half of season 4, it’s because all of the good animators were working on this. “well whoop de do for them but was it really worth it?” you ask. and honestly... yes. yes it was. holy fucking shit. from the very first fucking scene, that answer is an emphatic, wholehearted “yes.” incidentally if you, like me, failed to do the requisite soul-searching to realize that you needed even more League of Villains car chases in your life, let me assure you that you do, and this movie has got your fucking back.

Hawks is here and of course, duh, he’s amazing. he’s just as sassy and smart as you could hope, and at one point he actually makes an out-of-nowhere deduction that was honestly a HUGE LEAP, but of course it was exactly on the fucking money because it’s fucking Hawks you guys, AND HE’S JUST LIKE THAT.

Endeavor has the scar, but he’s only shown with his Flame Face activated, so it’s hard to see unless you’re actually looking for it. I honestly think a lot of anime-onlies might not even catch it. well-played. same thing with the glove covering the fingers on Tomura’s left hand.

honestly, probably the biggest spoiler in the movie is this one scene where Nine realizes that Deku “is capable of holding multiple quirks.” like, the movie doesn’t actually confirm SIXQUIRKS!!, but it’s pretty damn close IMO. gettin’ cute with it. oh, movie.

also there’s one scene that briefly shows all of the vestiges/predecessors, who IIRC haven’t yet been revealed in the anime other than in that one Shinsou fight where they were all shapeless blobs. so that’s another spoiler I guess. but this is another scene which was only very briefly shown. still when you’re showing it on a 30-foot-tall movie screen you kind of can’t be subtle no matter how hard you try so. hm.

at one point Bakugou is lying unconscious on a futon getting medical treatment, and he’s still wearing his hero costume but his shoes are off, and he is wearing socks. this confirms the answer to the question that probably no one else other than me had, of whether or not he actually does wear socks with his hero costume. because sometimes he has this tendency to not wear socks. anyway so that’s an important fact that I took note of and stored away in my brain so I could write it down and inform you all of it. socks.

the 1-A kids are actually really fucking professional and they have this little call center-type setup with phones and computers where they can take citizens’ calls and coordinate their response teams. it’s legit. unfortunately for them all the islanders ever call in about are lost pets, as previously mentioned. they don’t deserve these kids tbh.

at one point Kaminari calls Bakugou “Kacchan” AGAIN and THEY CAN’T KEEP LETTING HIM GET AWAY WITH IT. except they absolutely can and indeed, should.

Katsuma is an Edgeshot fan and wears this little pin of him on one of the straps of his overalls lol. it’s fucking adorable. unfortunately Edgeshot is not in the movie so we don’t get to hear his sexy hero ASMR voice. I think this is my biggest regret about the movie.

speaking of Katsuma, he has the bravest moment in the entire film when he charges right toward Nine to stop him from hurting his sister. willing to sacrifice his quirk and his dream to save her and everyone else. and it’s actually the second time he volunteers to do this. he is so brave. I would die for him you guys.

so many people get bodyslammed into cliff walls in this movie but they’re all fine. the fuck are these kids even made of.

at one point a villager asks Shouto to make some ice for him so Shouto is all “okay” and goes and makes a GIANT MOUNTAIN OF ICE THE SIZE OF A FULL DOUBLE FRIDGE. because CLEARLY that’s what this man meant when he asked for “more ice.” this has left a lasting impression on me.

for the most part the movie actually makes a surprising amount of sense! there are actually very few plot holes, and I say this as someone who is very much alert for plot holes! that being said, every so often a scene still comes along that makes you go “really??” while holding both of your hands outstretched all “are you serious” (and I was very gratified to see that I was not the only person doing this at times! MY PEOPLE). but it was mostly just your typical stuff that you would tend to find in the manga as well. for instance, “holy fucking shit Shouto did you really just fucking murder that guy.” (spoiler alert, I don’t actually recall them clarifying whether he did or didn’t, so I’m just going to assume that he DID. Shouto is very sweet but every now and then he just stops giving a fuck and that’s when you have to back off.)

anyway that’s all the random stuff I can think of so now I’m gonna summarize my thoughts on each of the 1-A kids and their roles in the film!

class 1-A

Satou doesn’t really do much, but his face scares a small child at one point and everyone in the theater laughed. I feel bad about it now. poor Satou. and even though I said he doesn’t do much, I should note before I get any further that every last 1-A kid does get at least a little screentime and some villain-fighting action, and he is no exception. but it’s mostly limited to punches, and of course, being bodyslammed into a cliff wall.

Hagakure doesn’t really do anything except help lead the citizen evacuation. and actually I lied in the previous paragraph because come to think of it, I don’t think Hagakure got any action scenes, so so much for that assertion. she didn’t even get to do her flashy lightbulb move. ah well one day she’ll be revealed as the traitor and then it’ll be her moment to shine.

Tsuyu has some good rescue moments, and this one cool bit where she grabs a villain with her tongue and yanks him into a river and Todoroki proceeds to freeze the entire fucking river (along with like half a dozen waterfalls), villain and all. it was a cool combo and I was all about that. also the kids use her disgusting poison frog snot to paralyze a dude so that was also dope.

Mineta doesn’t do anything egregious and actually has some really cool moments. his best is a combo attack with Sero and Ochako, but I’ll get to that in a bit.

Kouda is helping to save all of those lost pets!! all these cats and dogs and fucking parrots and shit. there’s also this one scene where a lot of birds come flying over suddenly and obstruct the vision of one of the bad guys, but I can’t remember if that was Kouda or not. but if it was then that was pretty damn sick, Kouda.

Kirishima does not get a lot of non-combat screentime, but he is there for those fights!! his big moment is also a combo (this movie could have seriously been called Combos Rising) with Todoroki where the two of them slide on a rail of ice similar to what they did in Kamino, and Kiri’s in front and activates Unbreakable to act as a shield for Todo. it’s super cool. also he does a lot of smiling at Bakugou like “oh, Bakugou!” in this way that’s just like. oh that wacky Bakugou, what are we going to do with him. chuckle chuckle. it’s cute and it’s nice to see someone else who is also way too tolerant of Bakugou’s shenanigans and just lets him get away with fucking everything because he adores him. I relate to Kiri a fucking lot is what I’m saying.

Ojiro’s tail is not made out of any substance known to man as far as I can tell. it just bends any fucking way it wants and can do whatever the fuck it wants and withstand all kinds of crazy shit. Ojiro actually has some really cool action scenes in this movie (we’ll get to the big one shortly) so props to him! but the fuck is up with that tail bro.

Shouji doesn’t do much, but he plays a key role in the final battle protecting the kiddos and he deserves your respect! also at one point one of the villains starts taunting him and is all “what’s up with your face I bet people were scared of you as a child”, which was fucking savage and completely uncalled for, and made the guy sitting next to me burst out laughing so hard I swear to god he started crying. smh.

Aoyama has not one but two fights in which he plays a key role! somehow he always seems to be at the vanguard. like his thing is firing off all his lasers until he’s exhausted and seemingly at death’s door, at which point the rest of the kids will show up to take over. he is very brave, and sparkly, and at one point he collapses holding his stomach and moaning “I think a little bit actually came out” which made me say “jesus christ” out loud while the entire theater lost their collective fucking shit.

Jirou does not do much, action-wise, until the very end when she and Ojiro (this is the big Ojiro scene I mentioned earlier) briefly take on Nine while the beaten-up Bakugou and Deku catch their breath and get their shit back together. let me tell you it was a RUSH watching Jirou take on a super powerful villain and I was HERE FOR IT. she blew up a bridge and then was almost immediately bodyslammed into a cliff but boy it was a ride while it lasted. also there is a scene where Momo is lying on a couch exhausted from overuse of her quirk, and Jirou is the one sitting there beside her watching over her, because they are gay, just a friendly reminder.

Iida is the glue holding all of this shit together. when the villains first arrive on the island and all the shit hits the fan, Iida is the one who stays calm and collected and dispatches 1-A to the various besieged parts of the island in teams as though he was Horifuckingkoshi himself. like how the fuck did he just know who to group together?? there isn’t any system to it, the teams are of varying numbers and degrees of skill and getting-along-with-each-other. but somehow it all worked out perfectly and I didn’t even question it. anyway so he also sees plenty of action and zooms around in his hyped-up new and improved recripro mode, and it’s great. I can’t remember if he gets bodyslammed into a cliff but let’s just assume yes.

Momo is right there with Iida calling the shots, and she also teams up with Aoyama in the final battle and makes not one, but two bigass cannons and shoots the fucking bad guys with them and it is everything. she also overuses her quirk in between the two big attacks by making a bunch of emergency supplies for the citizens, because she is too good and pure for this earth and we don’t deserve her.

Kaminari is mostly just used as a walking talking battery who tells jokes. there’s this guy on the island whose fucking tractor keeps dying and he keeps calling the 1-A hero agency to get a jump from them, so they send poor Kami over yet again and he puts up with it with a smile because he’s an angel. he does have one epic moment where Nine uses his lightning attack (he has a lightning attack, in case I forgot to mention that earlier) on Bakugou & Deku and then absconds, only for the two of them to catch up to him a couple minutes later all “JOKE’S ON YOU ASSHOLE WE’RE FINE!!” and he’s all “HOW!!” and it’s revealed that they anticipated the attack and made Kaminari serve as their personal lightning rod. and we cut to poor Kami sitting there in a field all crispy and doing his “whey” thing which got the most riotous fucking laugh in the entire movie because my theater was fucking shameless. Kaminari you poor brave boy I am sorry. god it was fucking funny though.

Mina had a ton of cute Mina moments which I can’t specifically think of now because it’s getting late (ETA: I wrote this up in two parts on Friday and Saturday night which might explain why it is so freaking long omg), but she was so great and I love her. but the moment that made me (and the rest of the audience) gasp out loud was when she was fighting one of the villains in a cave, and running around shooting her acid at stalactites to make them fall off and hit the villain, and being generally badass and such, but then all of a sudden the villain landed a good shot that hit her right in the leg and she gave this little cry of pain. and I swear to god it took everything in me not to leap to my feet and shout “NO, MINA!!!” because no!!!, but in the end it was all good because this moment led to...

Tokoyami losing his fucking shit, as Tokoyamis in dark caves whose friends are injured by villains are wont to do. so then he basically goes ape on the villain and it’s so great. Tokoyami is like genuinely tied with Todoroki as the third strongest guy in this movie, it’s insane. dude is so fucking strong?! also he does the flying thing from the manga too. so that’s another spoiler there for ya. these poor anime kids.

Todoroki exists in this awkward tier where he’s like at the very top of the very next character/plot tier underneath Bakugou and Deku, but he very clearly wants to be in the Bakugou and Deku tier, so he does things like inserting himself in between where they’re standing importantly, and saying both of their names while he is passing out. but in spite of his efforts the movie is all “no silly you’re in this tier” and puts him with Iida and Kiri and Tsuyu, and he accepts it with good grace in the end, but I’m pretty sure this is the real reason why he invited Deku and Bakugou to come intern with him immediately after this. just try and continue keeping him out of the main plot now, you two. anyway while I do understand why some Shouto fans were disappointed with him not having a big starring role in this movie, I think it’s akin to being disappointed that he didn’t have a starring role in Deku VS Kacchan Part 2. this was Bakugou and Deku’s movie from start to finish and that’s just how it is. but Shouto will most assuredly have his moment to shine sooner rather than later. also I seriously am pretty sure he just straight up kills a man in this film. fucking jams his entire arm down the dude’s throat and freezes him from the inside out?! this kid is still zero to sixty in the span of an eyeblink I swear to god.

Sero is ridiculously fucking cool in this movie you guys. like straight up balling out the entire time. holy shit. this kid is going to be a top ten hero and it’s time we were all done sleeping on him. also Bakugou calls him by his name for the first time ever because he straight up saves Bakugou’s life at one point and gets hurt doing so, so that made my fucking weekend, just putting that out there. and he and Ochako honest to god put up a real fight for the title of “sickest combo in the entire fucking movie” and I’m not even kidding, and I’m including Bakugou and Deku in that. but speaking of Ochako,

Ochako in this movie was almost too much for me to handle after reading the Miruko chapter earlier that afternoon lol. so you know that meteor shower move that she did back during the sports festival? she, along with Sero and YES, MINETA, pull off an upgraded version of that same attack in this film, and it is MISSION STATUS: FUCKING SICK. and in between that she’s just constantly floating people so Sero can then grab them with his tape and whip them around so they can do attack stuff mid-air, and it’s all just hype as fuck. and there were some good character moments with her too, but I’ve forgotten them all because it’s getting late now and my stupid brain is starting to prioritize sleep over writing this post. ah well.

so that’s 18 out of 20 kids! I left two out! you know which two! because they get their own fucking section because that’s just how it is.

Bakugou and Deku

well I actually wrote out all of my feelings about the whole OFA transfer, but they turned out to be essay-length, so I’m going to go ahead and put those into their own post. but here are all of my other random thoughts about Bakugou and Deku and their dynamic in this movie, which was fucking amazing.

I really need to get my hands on the fucking script for this thing, because I want to get a list of all of Bakugou’s lines, because I have a very strong suspicion that the percentage of Bakugou’s lines that are addressed to Deku and only Deku like they’re the only two people in the room (even though I assure you they are not) is significantly high.

and the looks. oh my god. he is constantly just watching him and making intense eye contact and listening in on conversations that have nothing to do with him WHATSOEVER because HE JUST LIKES LISTENING TO DEKU TALK ABOUT BEING A HERO AND STUFF, I GUESS.

there’s a scene where he’s holding a popsicle (rip to any headcanons that Bakugou won’t eat anything sweet btw) and sucking on it but then spaces out because he’s too busy listening to Deku talk to Katsuma, and at first his body language is all “la la la pretending I’m not interested” but gradually he straight up abandons the whole pretense and is basically turned fully around watching them for so long that the popsicle melts right off the stick and onto the ground and he turns around and just stares at it like it betrayed him. like, I’m not gonna go so far as to say that this popsicle is the proof of their friendship but it’s LIKE THAT.

Deku meanwhile has not one but two moments where they’re in the middle of a fight and he’s down after taking a particularly hard hit, and then something happens to Bakugou and he’s all “KACCHAN” and gets this fire in his eyes just like that because as usual you do not fuck with Kacchan when you’re around him. you just do not. YOU DON’T. meanwhile Kacchan is perfectly capable of taking care of himself but that’s never going to fucking stop Deku because Deku is ridiculous! ahhh Deku.

they are both good parents to their adopted island children and Bakugou protects them multiple times, and there’s even one scene where he saves them while letting Deku attack the villain, which is both teamwork with Deku AND saving someone, which is basically THE PINNACLE OF BAKUGOU’S CHARACTER DEVELOPMENT. thank you movie.

Deku has a scene with Katsuma where Katsuma reveals that he wants to be a hero but doesn’t have a very good quirk for hero-ing, and Deku tells him he can definitely be a hero. this is the scene that Bakugou listens in on while his popsicle melts away incidentally. anyway, to see Deku telling a small child the one thing that no one ever told him when he was growing up and that he wanted to hear so desperately almost made me tear up, quite frankly, and it was one of my favorite moments in the entire film.

the guy next to me kept laughing every time Bakugou brought up the whole “I’M GONNA BE NUMBER ONE JUST WAIT AND SEE I’M THE GUY WHO’S GONNA SURPASS NUMBER ONE THAT’S ME THAT’S THE GUY” thing, and I honest to god couldn’t tell if this person was a fan of Bakugou or hated Bakugou or what. but he just laughed. every single time. and I can’t stop thinking about it you guys.

Deku totally uses 100% OFA on his bad arm and that’s probably the biggest plot hole in this movie. BOY YOU DUMB. somehow he’s fine in the end though.

Bakugou breaks both of his arms too because OFA gonna OFA. I was actually really impressed/wincing because he kept fighting anyway, and we KNOW how hard his quirk is on his arms even normally. but he kept using it, and long story short I’m not sure how he didn’t manage to Deku his arms even worse than Deku. between this and chapter 262 it has not been a good weekend for arms.

at one point Bakugou decides he’s had enough of being bodyslammed into cliff walls and holds his arms up to the side of the crater(?) he’s in, and just... melts all the earth away until the crater is no longer a crater. or something. it’s hard to describe but it was the most insane thing I’ve ever seen.

Bakugou takes to OFA as naturally as he takes to everything. there was no processing time at all. just instantaneous. this isn’t even a plot hole to me, this is just Bakugou being Bakugou.

even before the OFA combo, there’s another sick BKDK combo where Bakugou grabs Deku’s hand and rotates him in the air using his quirk (it’s similar to what he did at the end of their second fight in Ground Beta) and launches him like a projectile. this fucking movie.

last but not least, the final fight scene with them all powered up is so vivid and colorful and movement everywhere and light and blurs and just ahhhhh. also, Might U at one point is just playing with no background noise. I don’t think a lot of other posts have mentioned that part; that not only is this music playing, but it’s the only thing you hear, no grunts or explosions or any other sound effects. just the music. while you watch these two work together like it’s the only thing they were ever born to do. it is everything.

conclusion

so that’s everything I can think of as far as my thoughts on the movie go, aside from the gigantic essay about Deku giving Bakugou OFA, which I will post immediately following this. so yeah. in conclusion I thought it was amazing, which is only to be expected I guess since it was relevant to virtually all of my interests. 10/10 would recommend, and please consider donating to find a solution to the ever-growing problem of children being bodyslammed into cliff walls.

#heroes rising #heroes rising spoilers #bakugou katsuki #midoriya izuku #bakudeku #class 1-a #bnha spoilers #mha spoilers #makeste reads bnha #makeste watches bnha #bnha meta

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shy-magpie · 4 years

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RQG 142

I used up all my delayed gratification avoid spoilers and not listening to a season a day; so in an act of optimism over evidence I am going to listen before bed instead of waiting for my lunch break at work. Come on dead!Shoin! It would be the perfect punchline to Zolf refusing to play, if Yoshida was killed by his own trap. I think I was wrong about Zolf's spell sobering up Skraak but we've got to be nearing the 24 hour mark in the next couple episodes. They have to sleep sometime. Eep! Streaming promo! Rusty Towers has to be doing well if they can branch out, good for them! What can I say I like rituals? Thank yous followed by the theme and intros make my brain light up. Alex went 3rd person over the stress of the series being up to 142? Time to poke the corpse. Exploding 20s sound fun but a pain to plan for. Body is in a state of disrepair. Panel open in the room indicates the bolt came from a trap Body is gross Adventurer not Shoin? We can't search the corpse? Not even for Alex's traditional wallet of backstory? Can't picture the layout (ETA Babs you are amazing, and your map is my RQG post for tomorrow.) Explanation for this area having power, I just like hearing Cel talk. Locker by each door. No Alex, we don't trust them to be normal lockers. Fire ax, weird wrench, box. Box contains: Solvent, glue, a dead potion, means of applying glue/solvent Cel sounds like they are consoling themself for this not being a puzzle Zolf is not a public speaker, but I think I got the gist of it. Take the tool kits: we will need them whether this is a puzzle or not. Another dead trap. Thanks for the careful wording, Alex *Foul water pool surrounded by a walk way *2 dead kobolds :( *Killed by acid in the face from a creature I am tempted to mark the turnings but given the weird layout I don't think I could track it right even if I could juggle my MP3 player, this post, a pen and paper. Once again just going to trust them to spell out what's important. Yeah they would check for traps at every door. Ooh active trap. Its a well balanced team, nice to hear them give eachother credit for their respective strengths so readily. Dark hall way of options They are honest, and admit they are probably not checking for traps as they walk. Oh good Zolf doesn't actually have a Thing about Dancing Lights. It really was just a "could we not make it easier for people to shoot us?" coupled with a possibly IC trouble relating to how much moving around in the dark stinks without Dark Vision. Ha they immediately spot a tripwire they would have missed if they just had Zolf & Azu lead them in the dark. Chalk marking, ensuing discussion of what it means. Is that Zolf or Ben who is losing it over the puzzles? Cel, do you need a variation on the "a live dog is better than a dead lion" speech I nearly wrote when Hamid went after that ooze? Because dead scientists can't write up their findings. Love ya both, if you have to die, please not to something you could have just walked away from. Of course Zolf is going to indulge them; he took to Cel fast as Sasha and Cel is less squishy than L1 Sasha. Oh darn I have to be fair, learning what the symbols mean could be life saving later on. The glaive really is a 10ft pole, I was joking when I asked that. I hate the word "seemingly". Alex, don't break Ben. Hmm, this is actually pulpy fun. Getting us back to base levels after really intense beginning of the season or being readied for more emotional content? Most of the beats I'm expecting can't hit until they get off the island; could be the answers to the what's going on around here are intense. Final bets on it being Mr. Ceiling mark 1? Weird room with weirder floor. Clearly another puzzle. Once again how rich is this guy? That's a lot of money to go "I'm smarter than you are". Genre savvy is rewarded Dead wizard "I'm giving you this for free" is Alex implying that other info given without rolls has a price normally? Other room is completely flooded? Zolf suggests we mark the door. Kinky Azu. Hamid switches mark to clearly writing the issue. This team backs a play, so its now a Rosetta Stone of warnings Partially flooded room but no real danger? Ah Zolf catches that we could lose our path back if we keep doing letting water out. Flooded & trashed lab Speakers burst to life Break time Its Yoshida, arguing with himself. Cel is a delight. Azu is "going to shake" Yoshida Swimming sounds like a bad idea. Oh, caught that tone from Zolf, does he think Poseidon would mess with them? Worrying since Alex keeps tossing water related potions at them. Zolf and Hamid are making decisions as equals. Hamid no longer sounds nervous and Zolf still isn't pulling rank crap. Even Skraak is worried about Zolf. Oh right, better is a relative term. Still pretty depressed (mechanicaly grief stricken). Ok not to get to into it, but Zolf's mental health arc is really good. Like no show is perfect but Zolf going from the Paris breakdown to clearly putting the work in on changing how he talks about himself and relates to the team, but it not being a cure all? All while still being a fully contributing member of the team? Pretty damn good to see. Back to first room. Cel does not understand where Zolf is coming from. Cel, Azu, and Zolf have a brief conversation about Zolf's mood. Have I mentioned how great Azu is lately? Player vs Character thing? Because even without Alex lamp-shading it, Lydia doesn't strike me as the "you must be chipper" type. Zolf and Cel interaction. Zolf wants to put a pin in this and have a proper conversation later. Not sure how I feel about promising to "keep a lid on it". On the other hand its hard to balance expressing the emotion vs ramping yourself up vs the needs of the rest of the team. So much for me not getting into it. Flip-side: hey, turns out I can acknowledge an actual flaw in Cel while still thinking they are awesome overall. Crates of potions, including the stuff from the syringe spears. wanna grab a sample this time? Because I'm thinking the stuff in the spears is the stuff that makes the Kobolds so docile and may be a prototype for the alchemical side of the blue veins. That sounds cathartic for Zolf. (looting the place then letting Zolf smash the rest) Azu smashes too. Good for both of them. Ah point Cel, stuff could have airborne effects. Point Zolf, 2 way street, Cel should let people know that kind of thing. Speakers, what is up with Shoin? Assuming this isn't a pre-programmed contingency (which I wouldn't have thought possible until watching Alex), why is he using the script from the puzzle party while half of the traps are broken? Getting meta again Well maintained nasty trap with really obscure poison 2nd trap?! Isn't going to kill anyone, thank Alex. What in the Magnus Archives? Dancing mannequin room with weird heavy gas? Going to crawl on the conveyor belt. Its trapped too. Acid damage to Azu. Into initiative.

Skraak got a nat 20

Azu was hit with a syringe arrow of acid.

Azu backs out past Hamid & Skraak

A second trip wire drops a grate! Hamid and Skraak are trapped on the conveyor; everyone else is back in the room.

Zolf sees Cel dithering and directs them to deal with the grate. No effect

Azu takes 7 damage

Hamid uses acid splash on the grate.

Oh cool, there is an actual rule for how long it takes to get armor on and off. It makes sense too, the better the armor is the longer it takes. From what I picked up, better armor would have more straps for better fit and have more thick overlapping bits rather than gaps

All Zolf can do is a heal check and help Azu get her armor off.

Cel offers the antidote potion, but we don't know what it does.

Hamid reassures Skraak, continues to splash grate

Cel can't really do anything

More damage to Azu

Sweet out of initiative

Zolf cleans Azu off, Azu takes a couple healing potions and that’s dealt with. The acid splashes didn't do anything to the grate. Lift the grate attempt one. Ah "come on Skraak, we're going to help" so wholesome Zolf wacks it with his glaive, it has some effect but not a viable plan Speakers again, Cel points out they might need to meet Hamid on the other side. ...long story short lever attempt has no chance of working. Zolf: Hamid, mate, you're on your own Hamid: I've got Skraak. (winks at Skraak, Skraak blinks at him) Is it having little brothers? He is good with Skraak! Zolf: chin up, don't die on the conveyor belt. Hamid: yup gonna try Zolf: cool anything we can give you? Hamid: I'm pretty well equipped I think. Zolf: all right well we'll see you on the other side. Azu: Yeah, we'll meet you there alright. We'll see you soon Hamid: yeah Azu: alright Hamid: stay safe Azu & Zolf: you too And the end of the episode out takes are always fun

#Rusty Quill Gaming #long post #RQG spoilers #live blog thingy #RQG season 4 #RQG 142

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michelles-garden-of-evil · 4 years

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Episode 3 Review: Making the Church Scene

{ YouTube: 1 | 2 | 3 }

{ Synopses: Debby Graham | Bryan Gruszka }

{ Screencaps }

We are now three episodes into our sojourn to Maljardin, and we have already reached the first episode without our star Colin Fox, making this the first Foxless episode. Even the cast members are feeling his absence, as evidenced by this quote from Raxl:

Yes, that is really how YouTube’s automated captions rendered the name “Jacques Eloi des Mondes.” I love automated captions. They’re hilariously wrong about seventy-five percent of the time.

We see Raxl and Quito in the Not-So-Hidden Voodoo Temple, praying to her god, the Great Serpent, for help in finding the Conjure Doll and the silver pin to send THE DEVIL JACQUES ELOI DES MONDES back into the Hell from whence he came. That may or may not be an exact quote; Raxl says variations of that phrase all the time from this point onward so it’s hard to keep track. And she always says it while chewing the scenery so much that it’s a wonder any of it is intact by the next episode.

By the end of Episode 3, the entire voodoo temple should logically have been in her stomach after all her scenery-chewing.

In this episode, we meet three new characters and, with them, see the introduction of one of the Maljardin arc’s main subplots. Unlike Tim’s subplot, which I don’t care about because he’s boring, this one involves one character whom I adore, one whom I find interesting if somewhat creepy, and one other whom I can tolerate for now despite her being kind of annoying. The first two are the newly widowed Elizabeth Marshall (Paisley Maxwell) and Reverend Matthew Dawson (Dan MacDonald), respectively; the last is Elizabeth’s daughter Holly (Sylvia Feigel).

From left to right: Matt, Holly, and Elizabeth. Matt is dressed like a Catholic priest for some reason despite being a minister from an unspecified Protestant denomination. For Holly and Elizabeth, I get the distinct feeling that the showrunners meant for them to look like early Liz and Carolyn from Dark Shadows, making this an early instance of Strange Paradise copying something from DS (who, I should note, also dressed one of their reverends like a priest). Still, they are in most ways different characters from their DS lookalikes/dress-alikes.

The central character of this plotline is Holly, who is a few months away from her twenty-first birthday, when she will inherit her late father’s fortune. Elizabeth wants the money for herself, so she had Holly committed to a “house for kooks” called Westley House, which Matt runs. At some point during her stay at Westley House, Matt fell in love with Holly and wants to marry her, but Holly doesn’t love him back because he persuaded her mother to have her sent there. The narrative treats this as creepy less because of the weird power dynamic going on (why should Holly want to be with someone who was essentially her jailer?) and more because, in the Strange Paradise universe, twenty-year-olds are considered children despite being above the age of majority in most countries and above the age of consent just about everywhere in our world. Granted, Matt is probably at least thirty-five (the age of his actor at the time of filming) and he does dress like a priest, but that’s still not a huge age difference between adults and he’s actually a Protestant minister. So he can marry Holly; there’s just the question of whether he should.

Proof that Rev. Dawson is Protestant: his church’s altar has a cross, not a crucifix.

Even so, the narrative doesn’t treat Holly as an adult and treats her instead like she’s seventeen. It’s so weird. A thirty-five-year-old being attracted to a twenty-year-old is way less creepy than one attracted to a teen. It’s also way less creepy and problematic than him being attracted to someone he held prisoner at her mother’s request, giving him far more power in their relationship. That should be the focus here, not her age.

This is how you make the church scene, at least if you’re Holly Marshall.

Anyway, Holly ran away from Westley House to confront Matt at his church (”making the church scene,” she calls it), and ends up confronting her mother as well. That’s the Cliff’s Notes version of the plot points in their half of this episode.

Mrs. Marshall is a fun character: a ruthless middle-aged diva so greedy that she preys on her own daughter for money. I wouldn’t like her if she were a real person, but, as a character, she is loads of fun. She kind of reminds me of early Disney villainesses like Maleficent and the Evil Queen from Snow White, in the way she talks and carries herself, the way she preys on an innocent young woman, and the underlying implication that she is a heartless psychopath. There are also some implications that she was even more of an evil diva in a past life, but I will save that discussion for a later post because I want to delve deep into it when it becomes more relevant.

Additional screencaps of Paisley Maxwell’s face and hair, just because.

Holly is also pretty fun at the beginning. She whines a lot, yes, but she can also be funny in a snarky way, and I’ve gotten quite a few chuckles out of her snarky comments and now outdated slang. (In this episode in addition to her “church scene” line, she sarcastically calls Matt “padre,” which made me laugh.) I’m not very fond of her overall--especially since later writers tend to butcher her characterization--but she does have her moments and some amusing lines.

As for why I find Rev. Dawson interesting, it has to do with the way his Christian beliefs are juxtaposed with those of voodoo priestess Raxl, which is not at all handled in the way one would expect. To delve too deep into it this early on would mean many detailed explanations requiring spoilers, so I will also wait to discuss it. Right now, we’re dealing with the creepy side of him and not the interesting side. As a romantic hero, he is patronizing and gross and I doubt that, even in 1969, many people would have wanted Holly to end up with him. I certainly don’t. Holly needs someone who respects her and treats her like an adult, and I don’t think Matt is capable of that.

In the next episode, we will switch back to the main story as THE DEVIL JACQUES ELOI DES MONDES comes out to play once again, this time with the visiting Cryonics Society and with Jean Paul’s lawyer, Dan Forrest. Also, Jacques says something absolutely hilarious and makes an absolutely adorable face. See you next week with my comments on Episode 4.

{ <-- Previous: Episode 2 || Next: Episode 4 --> }

#strange paradise #gothic soap opera #week 1 #episode 3 #maljardin arc #ian martin #review #costumes #dark shadows #evil diva #foxless episodes #great serpent #1960s slang #the not so hidden voodoo temple #scenery chewing #sp copying ds #twentysomethings treated like children

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traindelays · 5 years

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The Family Man Arc is a good character analysis arc for John Constantine because it is one of the few arcs that so strongly show who John is outside of who he presents himself to be ( I’d even go as so far to say as the narrative presents him to be, as well ). I believe it to be one of the more memorable arcs that explores John’s blatant terror and struggles of his own humanity.

The Family Man Arc takes place between the original Hellblazer issues #23, #24, #28, #29 & #30.

John reflects on the Family Man after three entire months of going on with his life. It’s not guilt of the family who was murdered from the address card he unwillingly handed over to the man that stirs his mind ( though he encounters a nightmare of them at some point ), it’s the fact that he saw himself in a man that turned out to be a murderer. He saw himself and was scared enough to determine that the only way to solve this was to confront him and find what makes a murderer of a man, and how to quell that nature.

John finally coming to terms that the reality of the situation is more serious than any of his other typical ordeals. He admits to his fear that this is entirely a physical altercation ( in this moment ); he’s got to rely on brute strength and the desperation to survive. But he knows that’s a lost fight before it even starts.

That same night, John has a dream he’s talking himself up so he can do the job and kill the Family Man, but then it ends up turning into his father that he hasn’t seen in 20+ years. I don’t really want to fall down a rabbit hole of symbolic interpretations but a few of them could be that John sees a father-figure in the few pleasant interacts he’d had with him prior to finding out the truth, and killing him would in some way be like killing his own father ( which is later explained in further issues that John did almost kill his own father with a hex he made in his teens as a response to the abuse he was faced with by him ) ... or more closely to the previous panel: John sees himself as the Family Man because of how he “killed” his own family ( e.g. his father with the hex, and his overall defiance to maintaining a relationship, and the guilt he feels for being blamed for his mother’s death ), and the subconscious fear that he’s not so different from him.

He wakes up from this dream screaming “DAD!” then hears the noise of Chas coming up the stairs, grabs the bread knife he kept at his side and - thinking it’s the Family Man - tries to go in for the kill. Which fails IMMEDIATELY because John is not a fighter. Chas kicks his ass, the reality of the situation kicks in---and John pukes outside on the sidewalk.

After straightening up with a smoke and some tea, Chas accuses John of messing around with the demon stuff again, to which John admits would be easier. John has an easier time dealing with things that don’t force him to face how shitty humanity is.

Magic lets him go after forces that he can pin as being “worse” than humans, while also giving him the escapism he’s always chasing in terms of facing humanity as a whole and how he personally fits into the role of humanity ( a common theme that creeps up all throughout Hellblazer when John reaches another prolonged breaking point ).

His next move, and his last resort to winning against “man” is to get a gun. One of the things that John vocally detests across several Constantine series, both as a moral standpoint ( and more lesser and assumed classic jab from a Brit. )

There are a few important things to point out.

1. John is quite literally out of his element. He’s never owned, held, or had an experience with a gun prior to the moment he buys it off of a shady arms dealer from Chas’ help. This is something that John can’t fake expertise on because using a gun requires an accurate enough precision, is extremely tangible - unlike magic - and is a direct means of killing. John isn’t trying to weasle his way out of a tricky situation, his back is to the wall. His hands been forced, he is down to his last resort. If he doesn’t kill the Family Man, the Family Man WILL kill him. Magic cannot save him. He is forced to remember that despite all his engagements with the occult, he’s a mortal man. To the audience, it’s also a grim but important reminder that he’s just a man.

Tying into Point #1, self-defense is not John’s strong point. He is very vocal through the entire Hellblazer series that he is not a fighter. He has a chance of getting one really good punch if he gets to swing first, but if it’s not enough to finish the job then he’s shit out of luck. John’s biggest skill is being underhanded and cunning. John not being able to fight is about the only thing he openly, quickly, and unashamedly admits that he CANNOT do.

John’s so out of his element, he makes the guy who sold the gun to him to load the bullets for him. Then he’s alone with the gun and his thoughts and we get this panel with the “When you begin to think like a gun--the days of your life are already gone.” (John Cale, Fear--1974.)

It’s a song; not uncommon for John to compare his emotions with lyrics considering his life was music before it got ruined by magic. The song is Fear Is A Man’s Best Friend and can be heard here, and these are the lyrics:

Standing waiting for a man to show Wide eyed one eye fixed on the door This waiting's killing me, it's wearing me down Day in day out, my feet are burning holes in the ground

Darkness warmer than a bedroom floor Want someone to hold me close forever more I'm a sleeping dog, but you can't tell When I'm on the prowl you'd better run like hell You know it makes sense, don't even think about it Life and death are just things you do when you're bored Say fear's a man's best friend You add it up it brings you down

Home is living like a man on the run Trails leading nowhere, where to my son? We're already dead, just not yet in the ground Take my helping hand I'll show you around You know it makes sense, don't even think about it Life and death are just things you do when you're bored Say fear's a man's best friend You add it up it brings you down

After getting the gun, John goes back to Chas’ who is bandaged up from an attack by the Family Man, and shortly after, John confirms with his sister that his father’s been murdered. At the news, John cries out “Dad!” again and cries. Now he’s got fear that his sister and his niece are next to be killed and his sense of urgency amplifies. Chas tells John that the old man is not only extremely fast, but he’s as strong as a horse, which couldn’t possibly make John feel any better about his own fate.

There are a few scenes prior to this where John seemingly slips back into his natural element of sleuthing. He tracks down the T.V. Agent that was the middleman for his old friend and the Family Man, and purposefully helped him tail his lead to this neighborhood. He falls back into this after his father’s death, and puts on an act of having Chas kick him out where he knows the Family Man can see and hear, and then leads him to Chas’ cousin’s house, Norma, where he stays for the night. He makes sure the Family Man is near the window when he deliberately and incorrectly announces that he’s catching a 7 a.m. train. This is the John we are used to seeing; the John that relies on misdirection and deception to slip through the cracks. He’s trying to take control back to put the odds in his favor.

Still, they’re getting ready to have sex, and she comments that John is trembling. He knows he’s set down the trap for the Family Man but his nerves are still shot. So much so that he changes his mind on the sex offer and lets her keep the money anyway. Probably not too important, but John is often one to escape his problems with booze, sex, or chasing adrenaline rushes, so it stands out to me as something worth mentioning.

( But he does eventually request for sex after Chas’ phone call scares him awake and he nearly falls out of bed, gun in hand. Still, he’s so stressed, he just kinda lays there sweating up a storm while Norma does all the work lol, then he hurriedly gets dressed to make a move on. )

John can’t sleep, and sits up holding the gun in his hand. No real reason to post these panels, it’s just one of my favorites. : )

The argument between John and humanity resurfaces again now that he’s on the move.

“But it shouldn’t be this easy. Life’s supposed to be sacred. You can’t just end it like a sentence. You’re human--you should feel something.”

He asks himself what’s wrong with him because he’s about to commit murder and his hands aren’t shaking. He immediately references himself as a murder as well to his father and all his friends of his past. He loses his resolve, just like that. He is struggling with his own sense of humanity. He goes from separating himself from the Family Man as someone that values life, and how it’s not up to him to decide who gets to live, to lumping himself in with him again, and then to justifying that he HAS to kill him because he needs to see for himself that he is more than a man that John can / is---that he’s something other and separate of his own.

Then we get the perspective from the Family Man himself, who catches on to John purposefully leading him on. They are referenced as being similar here; they are both playing a game they are familiar with. John poses as a challenge, he’s brought himself up to level on the playing field and the dynamic turns from the hunter and prey into a competition.

John takes the tube to the bus and contemplates how long he’ll have to deal with looking over his shoulder in fear of his life. One of his thoughts is:

“In the imagination, the intent is as potent as the act. I was a killer as soon as I bought the gun.”

It’s not long before John gets ambushed by the Family Man at a road stop and gets chased into the countryside. ( Sidenote: As a character always being aligned with being a fox, it’s interesting having him referred to as a rabbit. )

They finally meet up after a decent chase and the first thing John asks is “Why?” because at the front of all of this, that’s the burning question that ties him in with the Family Man, himself, and his own father. He doesn’t know what consists of being a murderer in the way the Family Man has made a home of it for himself. The Family Man mocks him, tells him he can’t shoot him because he’s a “virgin” as in someone that hasn’t killed anyone before ( something John, in some degree, would disagree - but he’s right in that John has never committed first degree murder ).

The moment the family man starts to say that he reminds John of his father, he finds it in him to pull the trigger. This ties into my earlier mentions of John and his subconscious dragging up his relationship and guilt about his father---the next page is a flashback into the Family Man’s life about his father:

The flashback shows the Family Man’s father shooting down their dog and explaining that it was his responsibility to put the dog out of its misery because it was hurting. Because that’s “love.” In the following page, the Family Man ( barely even maimed by the first bullet ) says that John won’t be able to murder him because he doesn’t love him enough.

It’s obvious that the Family Man equates murder with love in some twisted, traumatic delusion tied to his childhood.

There are further pages of flashbacks that show him responding irrationally to events in his childhood, but as that’s progressing, John’s just holding the gun at the man and saying “I don’t want this!”

“I don’t want this!”

“Don’t be... pathetic. You have... to do it. Don’t... you want to share the... secret?”

“Yes.” John doesn’t hesitate to admit that’s what he needs.

“Well you can’t until you’re free!” Family Man reaches out to try and stab John, and he fires the gun again.

Kindness in the face of death is mentioned again. Family Man is now the dog, in his misery, waiting to be put down. Except John is not the Family Man’s father and is not so willing to murder, still.

“Goddamn you, tell me why? Why did you kill them all? Why, why? I must know why!”

“I told you... you have to... kill me to... find out.”

The core of John’s agony is still presented to us that he tries and fails to understand what it all means. What it means to a murder to be a murderer, how do they get to that part, what separates them from the rest, what makes them not him.

He never gets an answer.

The Family Man shoots himself for John / helps John give him the final blow. The silence of the loss is an answer, the weight of his actions are all he has to examine in seeking truth for the question he desperately wants answered.

To further show how incredibly human John is, he throws up again after the deed is done. A man that stomachs demons, and ghouls, and the ghosts of his dead, tormented friends can’t look at a man he just killed without succumbing to the trauma.

He laments about how the world continues to spin despite losing / taking the life of another. He immediately feels the need to share this pain with someone else do he’s not dealing with it alone, and to rationalize why he had to kill this man. He remains struggling with the idea that there could be an excuse for murder.

He tells himself he’s saved countless of other families, but it’s not as tangible as the reality of the man he’s LITERALLY killed. Unlike the hypothetical families, the death is as real as everything around him.

Not only that, but he refers to this as the Mark of Cain, a prominent story in the Bible that involves Cain killing his brother Abel and lying to God about it. God sets a mark upon him that lets everyone else know that he’s a murderer. Like this murder, even if it’s not obvious to others, he knows that he will forever be set apart from everyone else around him for this action. He in inevitably changed.

Something something, Bible excerpts because I’m not an expert: "Now you are under a curse and driven from the ground, which opened its mouth to receive your brother's blood from your hand. When you work the ground, it will no longer yield its crops for you. You will be a restless wanderer on the earth" (Genesis 4:11-12)

“Executioners are always volunteers. They do it because they want to.”

John doesn’t include himself in the ‘they’ of this statement and its, I think, intentionally left vague as to whether a part of him wanted that kill ( the kill being more-so the answer or truth to the whole ordeal, not the murder itself ), but at the end of the panel when he’s thinking back to something an old lady told him, it’s goes back to the idea of just HAVING to know what you don’t know.

At the core of John’s character he is not a murderer, or an executioner. He’s a man like anyone else, struggling to keep his humanity in check, even when he’s forced into a position that threatens his morals. He makes the hard decisions that other people might not be able to make, and does what other people might not dare to do, and questions if that makes him more like his fellow man or further apart from them.

But in addition to that, he’s a man that doesn’t like unanswered questions, and if there’s something he can’t figure out, and even if it might get him killed---he just has to know.

#john constantine #hellblazer #mine

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niennavalier · 4 years

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Okay, belated Star Wars thoughts under the cut; no particular order, just as I think of them. Possibly some unpopular opinions, I dont really know, I'm not all that active in the SW fandom. So maybe I'll get roasted alive but...eh, whatever, this site is somewhere between an void and hell anyway.

Also SPOILERS BELOW (OBVIOUSLY)

[[MORE]]

Okay, so first things first: I enjoyed episode 9. A lot. It was really fun to watch, and just talking in terms of my experience in the theater, it was fantastic. It was so much fun to see the old crew back, all of those appearances were basically like happiness shots in the arm. It was really very cool. The Palpatine reveal and everything around it was pretty damn epic for the obvious reasons. And I absolutely loved seeing the trio bantering and arguing and passing each other - I always love stuff like that. I swear, just give me hours of good character interaction and I'll be happy. Kylo and Rey fighting together/him using the blue lightsaber was also some cool shit and basically like "yaasss heres the payoff for the entire trilogy let's fucking gooo"

Oh, and I need to mention that little droid that Rey fixes. That little guy was adorable and I want merch for him and I will not hear otherwise. (The droids are always great in all the movies fight me)

Also Zorii and Jannah. Badasses, loved watching them and the way they got to interact with the main cast. Just...wanna spill all the love for them in this sentence.

But there are a lot of other things I have to say about the movie - especially the more I think about it and the trilogy as a whole. Dont get me wrong; I still really loved watching the movie. There are just...certain things that feel like missteps or missed opportunities?

(Not counting how badly Oscar Isaac wanted Finn and Poe to be boyfriends, which I just discovered is a thing. And reminds me a lot of anytime anyone mentions Julian Bashir to Andy Robinson and his response is always "oh Garak wanted to have sex with him from the start". Which I literally love so much, this man is a treasure, and I'm glad that apparently the same thing is happening here. And it's not that I'm not gonna talk about it here cause I dont think Poe and Finn should've been boyfriends, but I'm pretty sure Oscar Isaac has much more to say about it than I do)

Gonna start where I always start when I have problems with writing: romance. Because IMO badly written/unnecessary romance can ruin any good story real quick. I'm talking about the kiss at the end. I'm not saying this to bash on the Rey and Kylo shippers. Generally, I dont care what you ship so long as you dont start harassing everyone else; I care even less when it comes to this fandom cause I just participate in it so little. So this isnt me bashing on the ship itself or the fans, but I just think that, in the context of the movie itself, the romance was really poorly handled. To the point that I saw the scene going that way and all I could think was "oh god please dont kiss, I'm begging you". And well...we all know where that went. But I just never got a romantic vibe from the two of them in terms of what was shown on screen. The chemistry always felt familial, at least to me, across episodes 8 and 9 in particular. I dont know if that's just the chemistry between the actors or what, but the tension between them never struck me as romantic - more like two people desperate for someone who understands the chaos around them, not lovers.

Again, granted, maybe that's just the way I read stuff, especially considering I really appreciate movies that don't feature romance arcs. I'm not sure how it read to other people, and I'm not gonna bash on the shippers who like it. I may feel like JJ Abrams didnt write a convincing romance - or just stuck the kiss in there at the end to fulfill some plan from episode 7 that didnt actually pan out - but I have no problem with the ship itself, or the people who ship it. (Because at the end of the day, this is all fiction, and I couldnt care less how anyone chooses to interact with it)

(And this isnt an entirely rated point but because I've seen it around:

In all honesty, I'm starting to think that the romance thing was just a symptom of a bigger problem with this trilogy: it doesnt feel cohesive. It's like JJ Abrams and Rian Johnson had two separate sets of notes and just refused to actually look between them. Two separate sets of ideas that they were too stubborn to compromise on.

And I have a feeling (at least, talking to my little brother, who definitely feels this way) that a lot of people are pinning this fragmented feel to the trilogy on Rian Johnson and The Last Jedi, but I honestly don't think that's fair. Because, and here's the unpopular opinion: I really don't think Last Jedi is that bad. At least, not bad enough to deserve all the flak it gets.

Won't get into that entirely here because that could be a whole separate post, but that's my opinion. Sure, it's not perfect, there are definitely a lot of parts that are pretty irrelevant and not really necessary, but that's true of everything. Frankly, its biggest problem was that it was written for the wrong audience. Which is a major problem, yes, but taken for what it is, it's perfectly decent. As I said before, I could write a whole thing on this movie and why it's not that bad (because I have my brother's points as to why it's terrible for me to argue against) but overall, my reading of 8 is that it's a movie meant to introduce wider ideas and concepts to the universe - particularly this very gray and murky area of morality and character - through stories that are closer to the characters and tied to harsher realities of war. Things aren't always black and white, people are complex, sometimes our heroes can be gravely wrong in ways that aren't glamorous.

Frankly, it feels somewhere between a super deep indie movie and Star Trek (particularly DS9, at least to me, because I love when that show gets to twisty moral stuff). So yeah, wrong audience, yet he decided to stick with his storytelling despite that. No matter I personally might fall into the audience that movie resonates with, it wasnt gonna resonate with most of the fandon.

Again, Last Jedi is far from perfect in other ways too, but it sets up some great ideas that I was really hoping to get some closure on. Honorable mention here is when Rose saves Finn when he's speeding out to sacrifice himself and because of the desire to save the people they love, which I always end up likening to the "we dont trade lives" sentiment. Mentioning this cause my brother always complains about it, but I was thinking this would be one of those virtues that separate the good guys from the bad guys and ultimately allow good to triumph. Yknow, sorta like how Voldemort's lack of understanding of love contributed to his downfall, to liken it to HP. I was under the assumption that would be the concept at some turning point in the climax, but...guess not.

Big one though, which was actually a pretty big disappointment IMO, was the whole neutrality argument, the existence of a grey area. The most interesting thing from Rey and Kylo's scenes in 8 was the notion that the Jedi and Sith could be left to die, and the two of them would essentially find a way separate from those two sides, walking a path down the middle. I know I'm not the first person to bring this up, especially because of how the Force just...works. That the scales need to be balanced. And so, given that, to have the Jedi always destroy the Sith - that's not balance. Give it a few more years and the same problem is gonna happen; if there are Jedi, there will be Sith and war is gonna break out. That's hardly resolution, so neutrality is the way to go. And, personal opinion - I loved that this ended up in 8. It's just a lot more nuanced than "good vs evil, good is victorious" and brought in new ideas to this universe that I really wanted to see explored.

But that just...never happened. Sure, Rey has that yellow lightsaber at the end, but it's really very little more than the barest hint of lip service to that entire concept. Because it's never built on throughout the movie. Kylo's insistence that they look for a different way turns into a demand that she basically become his Sith queen. Which isnt playing with the gray area - it's more firmly dividing light and dark. And as she's fighting Palpatine, he's all the Sith, while she's all the Jedi; doubt that needs further explanation. Sure yeah, she's dealing with the revelation of her bloodline throughout the movie, but that interaction with the dark side is very different than in 8; she's afraid of it (a character arc I love, dont get me wrong), not lured by it. The Sith are very clearly evil, and despite her family, she comes to embody the Jedi as a whole. The opposite of what was laid out in 8.

Which actually just makes her choice to take the yellow lightsaber make even less sense? Because...she has no reason at all to turn away from the Jedi and every reason to keep using the Light side. The only possible reason by that point is if she knows about the balance and makes that choice intentionally to prevent the rise of a Sith lord. But that choice is never shown, so I dont give that a pass. It just feels like the lamest nod to something from 8 - no buildup, no explanation, just there because it technically should be.

And that fucking sucks. What a waste. Puts so much space between these movies.

The romance might be another aspect of that - 8 didnt really give me a strong romantic vibe, and then 9 tried to benefit off of buildup of romantic tension that just wasnt there. And that romance isnt the only other one. Just the existence of Palpatine at all? Like, awesome plot yes, but not at all foreshadowed. The banter between the trio at the start? One of my favorite parts to watch, but it comes out of nowhere, and I guess we just have to live with the idea that all of the development happened off screen. Lame. The return of the fucking helmet? Fuck, i actually have more i can say about the way i interpreted the helmet, but this is getting long. So point being: it's like we just got zipped right back to episode 7 all of a sudden and didnt even get a symbolic moment of him losing the helmet in 9 (at least, not that I remember).

Really, on the whole, JJ Abrams basically did the beginning of 9 such that most of 8 could be made irrelevant. Because that's how I felt throughout the whole movie; like 8 didnt matter. And I know a lot of fans are honestly happy with that (so maybe if was actually the right choice on that front) but god does it make the whole trilogy clunky. Literally nothing flows.

And I think that's my main problem with the trilogy as a whole - or, rather, with the production behind it. It's like JJ Abrams and Rian Johnson were just so goddamned married to their ideas that they wouldnt budge from the story they wanted to tell. Like they put their individual creative visions above the quality of the story as a whole. Like they weren't willing to deal with any changes that they didn't put into play themselves. And the trilogy suffered for it.

Which is really so obnoxious to me. Because it is very possible to be flexible and improv and incorporate other ideas into what you already had; just look at D&D. That's the job of a DM. You can plan everything out perfectly, figure out the story you want to tell, decide how you want everyone to interact with your world, but the players will invariably fuck those plans over. And you just have to roll with the punches. But beyond that, those changes can be for the better, because those are ideas you never thought of, and incorporating those makes for an even richer story than anyone expected. All because the people involved are willing to see where the story naturally takes itself.

Just wish these directors could understand that.

(Also...what was Finn gonna tell Rey? I mean...? This is honestly the strangest thing about the movie because it literally felt like the writers just...forgot they ever had this plot point after halfway. Which just feels like sloppy writing, and I feel Poe when he seems to be really curious what Finn wants to tell Rey. Because...me too!)

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